|| Lohan is
the Chinese term for arhat, which is used to describe a disciple of Buddhism who achieved
a certain level of cultivation and escaped from the cycle of birth and rebirth. The lohan
shown here is leaning on a bamboo cane with both hands and is sitting on a meditation
seat. He has two attendants--one holds an incense holder and the other prepares a basket
of flowers. His hair has turned white and he stares forward with a solemn expression. The
drapery lines flow with grace yet strength. The use of brushwork in this painting is
exceptionally refined, as seen in the clusters of drooping willow leaves above and the
decoration of the seat and stand next to the lohan, making this is one of the masterpieces
of Buddhist and Taoist figure paintings in the Museum collection.
Although this painting bears no
signature or seal of the artist, it has been attributed in the title slip to Li Sung, who
served as a Painter-in-Attendance at the Southern Sung court between 1190 and 1230 and
specialized in Buddhist and Taoist figures as well as the ruled-line style of painting.
However, judging from style, this work probably came from the hand of a Yuan dynasty