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Calligraphic Works and Manuscripts by Hongyi from the Collection of Gao Wenxian (Lots 171-176)
HONGYI (without signature, 1880-1942) AND OTHERS
A Group of Eight Calligraphic Works
Details
HONGYI (without signature, 1880-1942) AND OTHERS
A Group of Eight Calligraphic Works
A set of eight unmounted leaves, ink on paper
Various Sizes(8)
NOTE:
This group of eight documents encompasses a variety of genres—Buddhist texts, translation history materials, stele inscriptions, publishing and collation notes, letters, and inscriptions—and may be broadly divided into two parts: manuscripts in Master Hongyi's own hand, and materials transcribed or composed by his disciples and friends. Five items are likely Hongyi's own manuscripts or working documents, including notes related to the *Taishō Tripiṭaka*, a preface to the *Critical Biography of Han Wo*, book collation and printing instructions, and draft letters discussing Vinaya issues—reflecting the actual circumstances of his Buddhist research, textual organization, and editorial publishing work in southern Fujian during his later years.
Two items relate to the documentary activities of Hongyi's disciples and lay protectors. The *Acrostic Poem for Long'an Buddhist Temple* bears at the end the signature "respectfully recorded by attendant Shengxin." Research indicates that the layman Shengxin is Gong Tianfa, an important lay disciple during Hongyi's Dharma propagation in southern Fujian, whose Dharma name was personally bestowed by Hongyi. In addition to transcribing Hongyi's poem composed at the request of layman Yang Jinghe, the text also appends brief introductions to Buddhist figures such as Nāgārjuna and An Shigao, serving the dual purpose of preserving documents and organizing Buddhist knowledge. Another item, the *Stele for the Revival of Cao'an*, was originally composed and written by Master Hongyi, recording the history of Cao'an in Hui'an and the restoration of the temple by Venerable Ruiyi, closely tied to Hongyi's Dharma activities during his residence in Hui'an in his later years; the reverse side contains the main text of a letter by the calligrapher, possibly related correspondence between Gao Wenxian and friends during his collection and research of materials on Hongyi and southern Fujian Buddhism.
The last item is a seal-carving draft by the disciple Huang Jici, likely submitted to Master Hongyi for correction, reflecting the artistic exchange and teacher-disciple relationship between Hongyi and his disciples.
This group's contents touch upon Hongyi's writings, publishing, Buddhist research, local Buddhist history, and disciple networks. It not only reflects the fruits of Gao Wenxian's long-term collection of Hongyi-related documents but also concretely presents the circulation of documents and scholarly exchange within Hongyi's late-life Dharma network, possessing documentary, Buddhist studies, and collectible value.
A Group of Eight Calligraphic Works
A set of eight unmounted leaves, ink on paper
Various Sizes(8)
NOTE:
This group of eight documents encompasses a variety of genres—Buddhist texts, translation history materials, stele inscriptions, publishing and collation notes, letters, and inscriptions—and may be broadly divided into two parts: manuscripts in Master Hongyi's own hand, and materials transcribed or composed by his disciples and friends. Five items are likely Hongyi's own manuscripts or working documents, including notes related to the *Taishō Tripiṭaka*, a preface to the *Critical Biography of Han Wo*, book collation and printing instructions, and draft letters discussing Vinaya issues—reflecting the actual circumstances of his Buddhist research, textual organization, and editorial publishing work in southern Fujian during his later years.
Two items relate to the documentary activities of Hongyi's disciples and lay protectors. The *Acrostic Poem for Long'an Buddhist Temple* bears at the end the signature "respectfully recorded by attendant Shengxin." Research indicates that the layman Shengxin is Gong Tianfa, an important lay disciple during Hongyi's Dharma propagation in southern Fujian, whose Dharma name was personally bestowed by Hongyi. In addition to transcribing Hongyi's poem composed at the request of layman Yang Jinghe, the text also appends brief introductions to Buddhist figures such as Nāgārjuna and An Shigao, serving the dual purpose of preserving documents and organizing Buddhist knowledge. Another item, the *Stele for the Revival of Cao'an*, was originally composed and written by Master Hongyi, recording the history of Cao'an in Hui'an and the restoration of the temple by Venerable Ruiyi, closely tied to Hongyi's Dharma activities during his residence in Hui'an in his later years; the reverse side contains the main text of a letter by the calligrapher, possibly related correspondence between Gao Wenxian and friends during his collection and research of materials on Hongyi and southern Fujian Buddhism.
The last item is a seal-carving draft by the disciple Huang Jici, likely submitted to Master Hongyi for correction, reflecting the artistic exchange and teacher-disciple relationship between Hongyi and his disciples.
This group's contents touch upon Hongyi's writings, publishing, Buddhist research, local Buddhist history, and disciple networks. It not only reflects the fruits of Gao Wenxian's long-term collection of Hongyi-related documents but also concretely presents the circulation of documents and scholarly exchange within Hongyi's late-life Dharma network, possessing documentary, Buddhist studies, and collectible value.
Further details
This collection comprises six groups of manuscripts and calligraphic works by Master Hongyi from the collection of Gao Wenxian (1913–1991), a devoted disciple who served as the master’s Minnan dialect interpreter and received the Dharma name Shengjin.
Dating from the mid-1930s to around 1940, the materials reflect Hongyi’s southern Fujian period. Inscriptions reveal a close master-disciple relationship, as Hongyi repeatedly wrote Buddhist texts, poems, and Dharma teachings for Shengjin between 1933 and 1938.
The collection includes calligraphic dedications, Buddhist manuscripts, a rare blood-inscribed Amitābha title, notes, and draft fragments, documenting Hongyi’s doctrinal interests, scriptural study, and daily monastic activities.
The materials also illuminate Hongyi’s network of lay followers, including Guangqia and Yu Zhilang, offering valuable insight into the Buddhist community of southern Fujian.
Preserved by the Gao family for over eighty years, this well‑provenanced collection illuminates multiple facets of Hongyi’s later years—his teaching, writing, and personal interactions. It stands as both an artistic testament and a vital documentary legacy of his southern Fujian period, embodying Gao Wenxian’s lifelong devotion to preserving and studying the master’s heritage.
Dating from the mid-1930s to around 1940, the materials reflect Hongyi’s southern Fujian period. Inscriptions reveal a close master-disciple relationship, as Hongyi repeatedly wrote Buddhist texts, poems, and Dharma teachings for Shengjin between 1933 and 1938.
The collection includes calligraphic dedications, Buddhist manuscripts, a rare blood-inscribed Amitābha title, notes, and draft fragments, documenting Hongyi’s doctrinal interests, scriptural study, and daily monastic activities.
The materials also illuminate Hongyi’s network of lay followers, including Guangqia and Yu Zhilang, offering valuable insight into the Buddhist community of southern Fujian.
Preserved by the Gao family for over eighty years, this well‑provenanced collection illuminates multiple facets of Hongyi’s later years—his teaching, writing, and personal interactions. It stands as both an artistic testament and a vital documentary legacy of his southern Fujian period, embodying Gao Wenxian’s lifelong devotion to preserving and studying the master’s heritage.
Brought to you by
Carmen Shek Cerne (石嘉雯)
Vice President, Head of Department, Chinese Paintings
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