Pu Ru (1896-1963) is one of the important figures in Chinese ink paintings of the 20th Century. Born to the imperial court of the Qing Dynasty in Beijing, he was named Aisin Gioro Puru, later changed to Hsin-yu, with courtesy names Xihuang Shangren and Xishan Yishi. Pu Ru was well educated with profound knowledge in classics, calligraphy and paintings, specialised in gongbi, figural and flower paintings. He mentioned that he spent a lifetime in classics, poems for leisure, followed by calligraphy and paintings. With an esteemed character and deep literary knowledge, he was well acknowledged as Zhang Da-qian among his contemporaries in the ink field. After the relocation to Taiwan in 1949, he taught at the National Taiwan Normal University and was acclaimed as one of the top artists along with Zhang Da-qian and Huang Chun-pi.

As part of the imperial family, Pu had access to the imperial collection of the Qing court and the Gongwang House. Hence his works show reference to the classical paintings of the collection. In his biography, he mentioned that he started his practice at 27 with a passion towards literature and classics, which leads to his passion towards paintings as well. With a collection of Tang and Song paintings, he imitated them and followed the traditional practices. During his travels, he would observe landscapes and depict them using calligraphy techniques. He imitated scrolls by Ma Yuan and Xia Gui of the Southern Song, and those of famous painters of Yuan and Ming dynasties with his observations using calligraphy techniques, making him a top artist of the field.

Pu Hsin-yu’s paintings are mostly based on landscapes which became more recognised compared to his figural works, such as Guanyin, Zhongkui and imaginary figures. This work of Guanyin is one of the most recognised genre, featuring a merciful and composed Guanyin with slender eyes, a mesmerizing smile, a high bun covered with a head veil, dressed in white robes, facing slightly towards the left; the right arm is lifted while the left holds a beaded necklace. The top is inscribed with a song of praise in running script, signed with courtesy by Pu Ru. Such a genre is typical of Pu Hsin-yu with an example from the National History Museum of Taipei with the same structure and composition.

With reference to classical paintings, Pu’s work could easily be traced against traditions. From the style of painting, this work is depicted in the same way as the Guanyin painting from the Daitoku-ji Temple in Kyoto, Japan. Using simple outlines and landscape in the background, the work is simple, steeped in the humid environment, highlighting the serenity of Guanyin in a heavenly setting. Pu re-interpreted the setting with a seated figure, from a solemn posture to a slanted relaxed one, further connecting the audience and the figure. Such an attempt highlights Guanyin’s existence on Earth as part of our modern life.

The genre of Guanyin is a typical subject of Pu’s works as an affirmation of his religion, as he worshiped Guanyin in front of the paintings. Hence depicting such a subject had a personal importance. In 1937, following his mother’s death, he mourned by writing 5,000 words of the Diamond Sutra on the coffin of his mother. Years later on that day, he would mix his blood with cinnabar to draw Guanyin or write the Heart Sutra, as a homage to his mother and his religion.