Angel Patrol Chinese Luohan Paintings Depict Guardians of Religious Law by Heather Nalbone The most crowd-appealing exhibits currently on display at the Freer Gallery of Art, no doubt, are the tributes to James McNeill Whistlerís exhibition galleries and lithographs. But the prominence of the displaysófrom the large signs to their positions near the museumís entranceóovershadows another worthwhile exhibition. "Guardians of the Law: Chinese Luohan Painting," which opened in early December, is relatively small, with a total of just 22 paintings. The scrolls, ancient and worn, are themselves somewhat easy to dismiss as more of the same historic works that are customary to the Freer Gallery. The paintingsí historical significance, however, is worth a venture into the small gallery just around the corner from the museumís more elaborate displays. The paintings, which span six centuries beginning in the 1300s, were created by commissioned professionals as well as amateur artists. The focus of each work is on a type of ancient Buddhist deity known as the luohan. Luohan, who had large cult followings in China, are best described in historical terms as "enlightened beings" who were exempted from the cycle of reb irth to act as guardians of religious law. More precisely, a small number of monks who were considered to possess superhuman knowledge, virtue and omnipresent powers were chosen to be the enlightened leaders. The number of luohan grew over the centuries from an original group of 16 to as many as 500. The idea of the luohan originated in India and was introduced to China during the seventh century, which is made clear by the strange anatomy of the people on display. Large noses, long eyebrows and foreheads, protruding chins and deep-set eyes are common features that portray the beings as otherworldly and unmistakably foreign to China. Their mystical prominence is portrayed through imaginary ink drawings and paintings that depict dragon tamings and boat-less pilgrimages across the seas. The paintings are significant more for their place in history than for any striking detail in the works themselves. One of the largest and most colorful pieces depicts five luohan and attendants crossing the sea to reach the "palace of the Dragon King," with the king dressed in a red robe laced with gold. The paintingólikely made for royaltyóaccompanies much simpler ink-and-paper scrolls focusing on comparable activities. Despite the stark contrasts in artistry, all of the paintings are remarkably similar both in theme and anatomical structure of those featured. The pieces are displayed chronologically to show how the luohan were integrated into ancient Chinese culture. Chinese themes such as subduing dragons and taming tigers were added to the paintings, as were minimal landscapes and more complex group compositions featuring luohan engaged in characteristic activities such as meditating, mending clothing and performing miracles. One such piece depicts five luohan and their servants washing clothing and hanging it to dry. The scroll was commissioned by a Chinese Buddhist abbot in 1175 and originally belonged to set of 100 illustrating scenes from the daily life of 500 luohan. A hallway next to the main exhibit includes painted album leaves and works of calligraphy to describe in more detail one group of 18 luohan. "Guardians of the Law: Chinese Luohan Painting" runs through May 23 at the Freer Gallery of Art, 12th Street and Independence Avenue, SW. For more information, please call (202) 357-2700 or visit www.asia.si.edu. Heather Nalbone is a contributing writer for The Washington Diplomat.