夏學精神．創意傳承Xia's Spirit in Creation
The founder Xia Jing Shan devote himself to painting and calligraphy art and actively promoting the charity through sharing the thoughts of aesthetics, which enables viewers to stay away from chaos and acquire peace.
The Xia Jiushan Foundation of the Arts and Culture aims to promote the "Xia Jing Shan's philosophy", which the spirit transforms the beauty of art into philanthropy in order to reward the society by taking actions unselfishly. By self-development, transformation and the comprehension in art creation, those are attached to the meaning of Xia's philosophy, which means the practice of Altruism through art.
The “ Jing Shan Classic, Culture and Creative Arts Award” ; is expected to inspire the new generation of artists for art creation relates to social humanities through Jing Shan's art collection of 2018, integrating the ideas of charity and life philosophy, and linking different culture.
Landscapes & People Category
Seven Sages of the Bamboo Forest
The painting depicts 7 sages in their gathering, waited on by 5 child attendants against a backdrop of a lake, rocks and a vast bamboo forest, a combination that indicates the painting motif to be “the seven sages of the bamboo forest”. During the Wei-Jin dynasties (AD240-250), Xi Kang, Liu Ling, Ruan Ji, Ruan Xian, Xiang Xiu, Wang Rong and Shan Tao gathered in a bamboo forest in Shanyang County (today's Xiuwu area), engaged in Xuantan (meaning “mysterious talking” on Neo-Taoism), singing, and drinking to their hearts' content, thus commonly referred to as the Seven Sages.
Avalokiteśvara amongst cranes and bamboos
The White-Robed Guan Yin sits in a lotus position on the rock against a backdrop of rocks and bamboos, a sight that constitutes the imagery of Zizhulin (Purple Bamboo Forest) Avalokiteśvara, taking after one of the iconography variations from the Mt. Putuoshan Avalokiteśvara portraits. To have six cranes surrounding Avalokiteśvara is not part of the Buddhist tradition, but a spin-off symbol from the Ming/Qing-dynasty auspicious imagery, “Six cranes usher in the spring”. Xia Jing Shan blends traditional Buddhist iconography and folk festival motifs. Such is Xia's ingenuity.
A symbol of supreme wisdom, Mañjuśrī is one of China's four major Bodhisattvas. Here in the painting, depicted with a boy by his side, Mañjuśrī holds a sword in his right hand for the elimination of all distressing worries and holding books in his left hand representing zenith wisdom, as he rides on the azure-blue lion. This iconography does not originate from Exoteric Buddhism but sourced from the Tang-period Buddhist book of commandments. Further, by the lower right side of Mañjuśrī is Sudhana (Shancai Tongzi, Child of Wealth) and by the lower left side is the Kingdom of Khotan. Portrayed as his family in the painting, both characters also appear in the Tang-period folk tale where Mañjuśrī manifests himself in Mount Wutai.
Arhats & Bodhidharma Category
Bodhidharma is the pioneer patriarch of the Chinese Zen Buddhism. He was the third son of a great Indian king (King Xiangzhi), later became a monk to study with Prajñātāra, then took a boat to arrive in Guanzhou during the Southern dynasty, and went north to teach Zen practice during the Northern Wei dynasty (AD386-543). His teaching steered clear of seeking externally but focused on observing one's mind to reach Nirvana without dwelling on analytical thinking or adhering to interpretation or wordings of scriptures, an approach different from other methods of religious transmission. Xia as a Jushi (a Buddhist non-monastic householder) excels in outlining garments in the ink-and-wash Xieyi (freehand) style with a brush-vibrating technique. His delicate Gongbi (meticulous) technique used in portraying Bodhidharma's appearance captures both of his spirit and form.
Calligraphy Art Category
Jing Shan Maxim: Sacred art exalts spirit to transcend space and time.
The artist, Xia Jing Shan, turns his many years of contemplative understanding of Chinese culture into Baihuawen (a writing style using plain Chinese) via traditional calligraphy to help with the transmission of educational humanistic and artistic doctrines. His Hangshu (a style of calligraphy) handwriting has a smooth flow of energy and the quasi-righteousness of the Kaishu (another style of calligraphy) in the arrangement of words. Xia's calligraphy as shown here is a manifestation of his personal style.
Zhong Kui Category
Zhong Kui auspicious house moving
This is the largest painting of Xia's Zhong Kuei series. The original ink-and-wash painting measures 51.5 cm (length) x 1417.8 cm (width). The painting adopts the form of a scroll to depict the joy of house moving. The composition manages to convey phases and succession of time on a two-dimensional painting, while adding on a playful yet exaggerated narrative, animatedly showing the many appearances of the little ghosts, each engaged in his own task. In the middle section, the protagonist, Zhong Kuei, locks eyes with his sister who sits on an ox-drawn cart following behind. Xia Jing Shan expresses the emotions between characters with the traditional Gongbi (freehand style) technique, and the painting follows a right-to-left movement of narration interlinked with Xia's artistic conception, effortlessly engrossing the viewer into the scene.