Pu Wei
Pu Wei, a renowned Chinese artist, developed a unique style, The color of Surupa, blending Dzogchen practices from Tibetan Buddhism with Chinese painting. Rooted in Confucian, Taoist, and Buddhist ideals, her vibrant, layered works unite Eastern and Western aesthetics, reflecting deep life meaning and modern flair. She is a pioneer — the first artist to integrate Dzogchen this ancient, esoteric tradition into contemporary Chinese painting. Pu Wei’s works are pure spiritual artistic expressions, belonging to the metaphysical category of spiritual supremacy, and are an artistic medium and channel to help people improve their spiritual level and realize noble soul.
It is not only an art form, but also a cultural phenomenon and spiritual experience, as well as a carrier of spiritual sustenance and philosophical thinking. Pu Wei was reported in Chinese influential art webs, magazines and newspapers, TVs, CNC world news, participated in international art exhibitions in New York, London, Paris, Strasbourg, Miami, San Diego, Dubai, Tokyo, Italy, Spain, Portugal, Turkey, Switzerland, Germany, Netherlands, Malta etc. Contemporary Chinese painting - Color of Surupa series are full of colors, lights and shadows, artistic conceptions and prospects, using Chinese ink and brushes, water, rice paper and natural pigments.
Pu Wei, you mentioned that your creative contribution lies in enriching the spiritual connotation of abstract art with Eastern aesthetics of mind and nature, annotating it with Eastern philosophy, and thereby expanding its spiritual dimension to foster East–West cultural dialogue. Could you reflect more deeply on how this fusion unfolds in your practice, not only in terms of technique, but also in how you conceive of your role as a cultural mediator or bridge between philosophical systems? How do you hope this expanded visual and spiritual vocabulary contributes to mutual understanding in a global art context?
I introduced the Yogacara theory of Eastern Buddhism into the spiritual connotation of abstract art, forming a unique "spiritual art" language – The color of Surupa. The establishment of this concept has enabled the expression of abstract art to move from "revolution of form" to "awakening of consciousness."
I enrich the spiritual dimension of abstract language with the Buddhist theory of emptiness. Through the artistic practice of "The color of Surupa", I deconstruct the obsession with the material world, eliminate the anxiety of binary opposition, and provide a path to inner peace and spiritual purification in this impetuous and noisy era.
My practice has sparked a potential dialogue in the field of abstract art between the Eastern Taoist "Tao", the Buddhist "emptiness", the Western existentialist thinking on individual existence, the phenomenological focus on perception, and even the cosmological exploration of the unknown. The chaos and order, the moment and eternity, the finite and the infinite presented in the painting become visual footnotes for the common themes explored by different philosophical systems.
I played the role of a cultural mediator, transforming profound Eastern philosophical concepts into universally perceptible visual experiences, thus promoting mutual understanding across philosophical systems. This fusion doesn't simply insert Eastern symbols like the Chinese dragon, the Tai Chi diagram, and Chinese calligraphy into a Western abstract framework. Instead, it deconstructs and refines the core spirit of Eastern philosophy, expressing it through a purely abstract visual language: color, light and shadow, space, and texture.
This allows the work to transcend the limitations of specific cultural symbols, allowing viewers from all backgrounds to intuitively experience and resonate with it. My practice introduces a uniquely Eastern perspective on the universe, introspective spiritual cultivation, and the pursuit of a transcendental experience of harmony between man and nature into abstract art, significantly enriching its spiritual genealogy and philosophical depth.
In Eastern philosophy, the Taoist Lao Tzu's idea of "the great image is formless" is the highest ideal of Chinese artistic aesthetics, meaning that the greatest image has no specific shape, symbolizing a spiritual realm that transcends form. The works created by Chinese artists aim to create a space filled with the "flow of life energy" ("Qi") rather than depicting the shape or volume of specific objects. They aim to break free from the external constraints of specific objects, express specific objects inner spirit and rhythm, and direct their minds towards spiritual liberation and soul freedom.
The pursuit of spiritual freedom is a common ideal of Eastern and Western art. The "the great image is formless" advocated by Eastern art and the "transcendence of concreteness" of abstract art are highly similar in the visual characteristics of artistic expression. I was inspired by the techniques of abstract art that break through the constraints of concrete representation.
I used the spiritual language of abstract art to translate the aesthetic ideal of "the great image is formless" advocated by Eastern philosophy, thereby creating a new paradigm of "Eastern aesthetics of mind and nature" based on the concept of "The color of Surupa", and opened up a new path for the transformation of traditional Chinese painting into modernity.
At the same time, it uses the internationally accepted language of contemporary art to introduce the humanistic significance and spiritual achievements of Eastern philosophy to the international community, builds a bridge of communication for cultural exchanges between the East and the West, realizes cross-cultural dialogue, and promotes mutual understanding and integration.
As a cultural mediator, I avoid superficial symbol appropriation and complicated concept accumulation, and directly point to the common spiritual origin of mankind - resonance with the universe; as a philosophical bridge, I transform obscure Eastern philosophy into a perceptible and understandable visual language, which is not only a philosophical breakthrough in the ontology of art, but also a fusion and expansion of the artistic spirit of the East and the West.
In the global art context, this practice has greatly expanded the boundaries and spiritual connotations of abstract art, and has powerfully demonstrated that the wisdom of different civilizations can learn from each other and jointly nourish the spiritual home of mankind, providing an enlightening artistic path for seeking understanding in differences and building harmony in diversity.
You have written that you aim to “enrich the spiritual connotation of abstract art with the Eastern aesthetics of mind and nature.” This suggests not just an aesthetic project but a philosophical and psychological one. Could you elaborate on how Eastern mind and nature concepts, perhaps rooted in Taoist meditative states or Buddhist mindfulness, directly influence your compositional decisions, color choices, and brushwork?
The concept of "mind and nature" in Eastern philosophy is a profound and core concept, particularly important within the ideological systems of Confucianism, Buddhism, and Taoism. Rather than simply referring to "psychology" or "personality," it encompasses a complex fusion of the essence of life, moral principles, spiritual realm, and the practice of self-cultivation.
The core of Eastern “mind and nature” lies in the exploration of "ontology". "Void" is not nothing, but an original state that contains infinite vitality and possibilities. It is the field where "Qi" flows and grows, and it is the foundation for the specific shapes and colors in the picture to exist and gain meaning. The viewer can feel a dynamic process of gradually emerging from chaos or gradually dissolving into chaos, which is exactly the birth and return of "Tao".
For example, my "Void Realm" series embodies this by dissolving defined forms. Within the papers, form, color, light, and shadow intertwine, permeate, and transform, devoid of fixed physical boundaries. Everything seems in a perpetual flux of creation and dissolution. This defies simple definition, guiding the viewer to let go of the obsession with "what is this?" and instead to intuitively perceive the fluidity and impermanence of phenomena, realizing the profound meaning of "form is emptiness, emptiness is form."
In my work, I eschew preconceived compositions. The forms on the papers are the result of the "self-manifestation of the mind." This awareness of the mind is materialized into exquisitely subtle gradations of color and delicate textures. Each layer of color, the weight of each brushstroke, records the observation of the rise, lingering, and disappearance of a thought during the cultivation of the mind.
While the overall image is a vast "void", its details are filled with exquisite, ever-changing details. This embodies the Zen concept of "appearing the Treasure King's Temple at the tip of a hair"—illuminating eternity in the present moment, perceiving the entire universe in the smallest of things.
My work places great emphasis on the fluidity and interconnectedness of "Qi," the fundamental energy connecting spirit and matter. Color and ink diffusion permeate, and breathe across the papers, forming an inner rhythm and vitality. This is not a depiction of external scenery, but a direct expression of the artist's inner "Qi" and cosmic energy. The viewer can sense an invisible energy flowing across the papers, resonating with the work's "energy field."
Buddhism explains that all things exist within an infinite network of relationships, encompassing and reflecting each other. In terms of composition, my works often break the distinction between primary and secondary. There is no focus, but there is scenery everywhere. Every detail contains information about the whole, and the overall atmosphere permeates every tiny detail. This holographic, decentralized composition metaphorically represents the endless web of interconnectedness and interdependence within the universe.
The goal of the "Void Realm" series is not merely to express but to evoke a spiritual experience in the viewer. The hazy, profound, and infinite qualities of the works invite the viewer to pause and be still, unconsciously withdrawing from the chaos of the external world and turning to inner contemplation.
The abstract form and open artistic conception offer immense scope for interpretation. Free from the constraints of concrete representation, viewers can more easily "project" their own state of mind, emotions, and perceptions into the works, engaging in dialogue with them. In this process, art appreciation becomes a dynamic "mind-cultivation" activity, from which everyone has the potential to gain their own "enlightenment" moment and realize inner peace and breadth.
Therefore, the concept of "The color of Surupa", a new paradigm of "Eastern aesthetics of mind and nature" that I have constructed, has indeed transcended a simple aesthetic project and become a comprehensive spiritual practice that integrates philosophy, psychology, and aesthetics, injecting Eastern spiritual connotations into contemporary abstract art.
Your concept of “Color of Surupa” is both deeply personal and culturally rooted. How did this methodology emerge, and in what ways does it function not only as a style but as a philosophical lens through which you reinterpret classical Chinese iconography in the language of global contemporary art?
"The color of Surupa" is the core concept of the new paradigm of “Eastern aesthetics of mind and nature” that I have constructed. It not only carries the ultimate philosophy of "emptiness" in oriental Buddhism, but also breaks through the boundaries of artistic ontology with a cross-dimensional color language. It is not a specific hue, but refers specifically to a color expression that transcends the physical visible spectrum. It is a transcendental color system rooted in the awakening of the mind and integrating traditional wisdom with contemporary spirit.
"The color of Surupa" is defined as "The high-frequency light and color that naturally emerge in the mind". They originate from psychological projections of higher dimensions, and their energy frequency far exceeds the natural light that can be perceived by the naked eye. The painting process requires the participation of natural forces to form geometrical progression color changes. This color can even capture a wider range of spectral information under the lens, suggesting its spiritual dimension beyond the senses. This high-frequency light and color that manifests from the mind itself constitutes a non-physical, invisible spectrum called "rainbow light."
This is the highest energy light of Dzogchen Buddhism, the "rainbow light energy field" that appears during meditation. I call this state "Brightness of Rigpa." In a meditative state, I transform the high-frequency light and color that manifests from my mind into a perceptible physical color spectrum. These non-physical "rainbow lights" exist in the picture in a quantum superposition state, forming a "super color domain" that transcends the visible spectrum.
The "Brightness of Rigpa" expressed in my works belongs to the philosophical category of Buddhism. Here, "Brightness of Rigpa" refers to the state of consciousness that transcends material obsession, which originates from the Buddhist Yogacara school's explanation of "ālayavijñāna" (The Eighth Consciousness). The Yogacara school of thought analyzes the human mind into eight functions: the first five consciousnesses (eye consciousness, ear consciousness, nose consciousness, tongue consciousness, and body consciousness), the sixth consciousness (Mental Consciousness), the seventh consciousness (manas: the root of ego attachment), and the eighth consciousness (alaya consciousness; the seeds of karma).
During meditation, as my consciousness ascends, I gradually peel away the first seven layers of consciousness until I reach the eighth consciousness (alaya consciousness). At this point, I enter a state of "no self." My mind, like a clear mirror, projects the vibrations of the eighth consciousness (alaya consciousness) that resonate with cosmic energy—high-frequency light waves that naturally emerge in the mind. Here, everything is energy, frequency, and vibration, resonating at the same frequency as the cosmic energy.
Here, the concept of "The color of Surupa" was born, which metaphorically implies three aspects:
①. The black color of ink and wash is the original color of the universe, symbolizing the depth and infinity, and containing all the energy of the universe;
②. The color blocks in the work are full of fluidity and randomness, which means the impermanence of the birth and death of all things in an instant, and is a metaphor for the "emptiness" nature of the universe;
③. Highly saturated colors are high-frequency light waves that naturally emerge in the mind. This kind of color is not produced by the reflection of matter, but is the projection of karmic fluctuations in the Brightness of Rigpa when the Alaya consciousness resonates with the universe.
During the painting process, I enter a "natural state without artificiality." I try to reduce human intervention as much as possible, fade artificial traces, so that the creation is elevated from "artificial painting" to "natural manifestation." I use the "brush without thought" to let the colors flow naturally with the current rigpa. The structure of the picture is actually the "mental projection of the energy field of Alaya consciousness." The seemingly random combination of color blocks is actually a visualization of karmic fluctuations, directly reflecting the "Brightness of Rigpa" perceived in the mind.
I use the superposition of multiple layers of transparent pigments, which undergo geometrical progression changes under the coordination of natural forces, to produce halo ripples similar to the quantum tunneling effect, turning the two-dimensional plane into a projection interface of multi-dimensional space. This "overlapping color and light transmission method" makes the picture form a cross-dimensional visual experience of "microscopic is macroscopic."
When composition, color, and brushstrokes become media for mind training, abstract art rises from a revolution in form to a path for spiritual liberation. Compared to traditional Chinese ink paintings that are primarily black and white with light colors as a supplement, "The color of Surupa" works feature rich and heavy colors, with unpredictable light and shadow. They break through the color paradigm of traditional Chinese painting and the optical logic of modern painting, imbuing color with metaphysical meaning and injecting a spiritual aura into art in the age of mechanical reproduction, proving that "the aura of art has not disappeared, but exists in a higher-dimensional form."
In the tradition of Chinese brush painting, the concept of “likeness in unlikeness” is central to expressing spirit rather than form. How does this ancient principle manifest in your contemporary abstraction, and do you see parallels with Western abstract expressionists such as Kandinsky or Rothko, who also sought to depict the unseen and the spiritual?
The principle of "likeness in unlikeness" in Chinese ink painting emphasizes transcending physical resemblance to capture the inherent spirit of an object. I translate this traditional aesthetic of Chinese ink painting into a contemporary abstract language. Its spiritual resonance with Western abstraction stems from its exploration of the "invisible world," yet its philosophical foundations and forms of expression differ fundamentally.
I use the most advanced spiritual training method of Chinese Tibetan Buddhism—the Great Perfection mind method—to create mental imagery art, and construct a holographic circular space theoretical model to explain my painting logic. This is a three-dimensional hollow concentric circle, filled with the top energy light "rainbow Light" of the Great Perfection Buddhism, symbolizing the elevation of the consciousness dimension from the visible to the invisible, and entering the eighth consciousness (Alaya consciousness) through the three-step path of imagery (perception of objects) – non-image (subjective consciousness manifestation) – formlessness (emptiness essence). This three-step structure corresponds to the Buddhist theory of Nirmāṇakāya – Sambhogakāya – Dharmakāya.
In the "consciousness of emptiness," I dissolve the boundaries between subject and object and enter a state of "selflessness." The flow of color fields in the picture is not a formal composition, but a projection of psychological energy in a higher dimension. In this process, I transform myself into a "channel" for energy transmission.
The "Void Realm" series corresponds to the level of "formlessness." It uses the chaotic state of ink blending and the impermanent state of light and color changes to simulate the deep consciousness fluctuations of the Buddhist "Alaya Consciousness" and directly point to the essence of emptiness. I combined the "rainbow light energy field" that appeared in meditation with artistic expression, that is: using consciousness to construct an energy field, and in a state of emptiness, allowing natural forces to participate in painting.
This "emptiness theory" creative view is completely different from Kandinsky's "theosophy" path. It does not imply a transcendental world through geometric symbols, but goes the other way around—deconstructing formalism with organic forms, and directly allowing conscious activities to participate in the construction of the meaning of the work.
Compared to Rothko’s use of color fields to explore spiritual sublimation, I deconstruct the obsession with the material world through “emptiness.” Through random drips of color and flowing color fields, I express the transformation of cosmic energy, achieving resonance between the “alaya consciousness” and the universe.
Compared to Pollock's action paintings, which emphasized bodily movement, I use a "thoughtless brushstroke" to allow color to flow with rigpa. This embodies the Taoist aesthetic ideal of "the great image is formless," alludes to the Buddhist philosophy of emptiness and impermanence, and imbues abstract form with a metaphysical spiritual core.
This comparison reveals the fundamental difference between Eastern and Western art in terms of "self-expression" and "selfless enlightenment." In my paintings, light and color are stripped of narrative and become pure spiritual symbols. Like Western abstract expressionists such as Kandinsky and Rothko, I am exploring the visualization path of spirituality and exploring the invisible spiritual realm in abstract form.
Although there are profound differences in our cultural roots and philosophical thoughts, we can engage in the following cross-cultural dialogue in terms of spiritual expression:
The origin of the mind (Buddhist concept of emptiness/Taoist concept of nature) vs. expressing the inner spirit (musicality/existentialism);
“Invisible” Consciousness Energy Field vs. “Invisible” Emotions and Cosmic Order;
Zen Contemplation of No Self (Passive Reflection of Mind) vs. Emotional Release (Active Construction Form);
Flowing rhythm (Afocal Perspective) vs. Flat Color Blocks (Formalistic Composition);
Enlightenment and Liberation (Art is Mind Practice) vs. Aesthetic Revolution (Artistic Autonomy).
"The color of Surupa" painting, as a new paradigm of Eastern aesthetics of mind and nature, proves that when "likeness in unlikeness" breaks away from the metaphor of objects and directly points to the essence of mind, the traditional Chinese freehand spirit can be reborn in contemporary abstraction, and form a spiritual dialogue with Western abstractionism that "reaches the same goal by different paths," providing the global art world with a solution that transcends materialism.
The Taoist ideal of “wu wei” or effortless action finds a fascinating counterpart in your fluid, gestural brushwork. Do you perceive your painting process as a form of spiritual exercise or intuitive meditation? How do you prepare yourself mentally and emotionally before entering this heightened creative state?
My painting process is an intuitive meditation, but it must be based on long-term spiritual exercise. There are three paths to realizing emptiness: one is to overturn solidified notions through logical reasoning; the second is to gradually realize the true nature of emptiness through a specific set of spiritual exercise methods; and the third is to directly realize emptiness without the need for logical reasoning or theoretical guidance.
Although the third path is the simplest and most direct, it requires a lot of spiritual training from previous lives. Only after accumulating knowledge from several lifetimes and mastering the ineffability "know-how" can one directly realize emptiness. My painting process is indeed a heightened creative state.
Before I start painting, I need to have some rituals, such as washing my hands, burning incense, to help me calm down and meditate as quickly as possible. When I face a blank piece of paper, my mind is immediately emptied. This behavior of dissolving subjective consciousness and entering a state of "no self" is just an instantly occurring conversion. At this moment, my mind is like a mirror, and high-frequency light and color spontaneously appear in my mind.
I must quickly capture the fleeting mental imagery, letting the colors flow naturally with the current rigpa with a "brush without thought." This state can be described by the Taoist concept of "wuwei." The random infiltration of graphics on the papers may seem "wuwei," but it is actually a practice of "Tao follows nature"—the artist does not forcefully control the painting, but rather conforms to the characteristics of the materials, achieving a balance between "controllable and uncontrollable".
This not only echoes the abstract expressionist pursuit of freedom, but also injects it with the profound dimension of "harmony between man and nature". My technique is unpredictable; it evolves with the shifting of my mental imagery. The entire process is a dynamic and uncertain exploration.
Guided by the awareness of emptiness, I allow water, ink, and pigment to flow freely across the rice paper, harnessing the forces of nature to create random textures. Utilizing the permeability of rice paper and the fluidity of water, I completely dissolve linear forms, allowing colors to blend naturally to create a "formless" composition.
This "wuwei" technique makes the picture present the quantum state uncertainty like "Schrödinger's painting", and each work is an unrepeatable energy field.
You’ve spoken about merging “subjective consciousness” with the “aesthetic experience” in your artworks. In a time where contemporary art is often conceptual and politically driven, what role do you believe spiritual introspection and inner transformation should play in the global art discourse today?
This is a very profound and pertinent question. My work is indeed an expression of spiritual introspection and inner transformation. In today's global art discourse dominated by conceptual and politically driven art, my art provides a depth and dimension of "counter-narrative" to balance external drives.
Contemporary art is often “Art about something,” such as identity politics, social injustice, ecological crisis, or historical trauma. This external drive makes it highly socially participatory and critical, but sometimes it may become conceptualized and symbolic, and even cause the audience to feel "aesthetic fatigue" or "preaching." My "Void Realm" series is "Art of becoming something." It does not attempt to tell a specific external story, but rather invites the viewer to enter a state of being—emptiness, silence, and introspection.
This dramatic shift from the external to the internal provides a profound balance. When everyone is shouting outward, it provides space to listen inward, reminding us that all external actions and criticisms ultimately stem from an inner, conscious self. My art transcends specific narratives, its themes are universal, transcending any particular culture, politics, or identity label, resonating with a wider range of humanity and providing a neutral yet thoughtful platform for global dialogue.
My art reaffirms the “experiential” and “spiritual” value of art. Today, when art is wrapped up in a large number of theories, curatorial declarations, and market values, one of the most original functions of art— to provide direct, emotional and transcendental experience—has been weakened. Works like "Void Realm" compel viewers to engage with their senses first, rather than their intellect.
The work's purpose is to restore aesthetic experience: the subtle shifts in color, the traces of brushstrokes, the atmosphere of the painting—the purest language of painting can convey emotion and spirituality without relying on textual explanation. In an era like ours, which is filled with spiritual anxiety, ecological crisis, and material alienation, people's desire for meaning, tranquility, and transcendence has not disappeared, but has turned to areas such as art and nature.
The work "Void Realm" is a "spiritual container in a secular age," providing viewers with a space for meditation, contemplation, and a brief escape from the daily hustle and bustle. It responds to the profound spiritual needs of modern people. My work is rooted in Eastern philosophy (such as Taoism's "nothingness" and Buddhism's "emptiness"). Its role is not to supplement "Eastern sentiment," but to provide another paradigm for understanding the world: Western thinking is often analytical and objectivist; while the Eastern wisdom embodied in the "Void Realm" series is holistic, intuitive, and pursues the "unity of man and nature." It has brought a fundamental and different way of thinking to global art.
I think that the role that spiritual introspection and inner transformation should play in today's global art discourse is to form a dialectical relationship with conceptual and politically driven art, and together constitute a healthier and more complete art ecology. It reminds us that art can both criticize society outwardly and explore the universe inwardly. It upholds the experiential and spiritual dimensions of art, preventing art from becoming a mere appendage of theory or a mouthpiece for politics.
It provides a visual space for individuals who feel exhausted by global turmoil and uncertainty to take a breath, reflect, and reconstruct themselves. In short, the spiritual introspection of the work of "Void Realm" is not an escape, but a deep participation—it is a way to participate in the deepest part of our own humanity. In an era when external voices are so noisy, this art that points to inner silence may be one of the most revolutionary and healing forms we can have.
Your landscapes and symbolic works, such as Taiji Diagram or Feng Shui Awonan Fish, often carry embedded references to energy flow, cosmic balance, and metaphysical vitality. How do you view your role as an artist in visualizing these intangible forces for your audience, and how do you reconcile spiritual metaphor with the materiality of paint and paper?
This is a question that touches the very soul of Eastern art. In Eastern aesthetics, materials are never merely physical carriers; they themselves are the embodiment of philosophical concepts and the medium for spiritual practice. Eastern philosophy believes that the "Tao" is contained in all things. Even the most ordinary materials carry the laws of the universe. Materials are regarded as microscopic models of the universe. We can deeply understand this spirituality from the following aspects:
① Made from plant fibers, rice paper boasts a soft, resilient texture and a unique permeability and breathability. It expands when wet and contracts when dry, seemingly imbued with life, the embodiment of emptiness and breath. The blank space on rice paper is not “nothing”, but the “void” that gives birth to all things, and is the field where “Qi” flows and grows. When the artist paints on paper, he does not create on a flat surface, but rather dialogues with the material in a "cosmic space" with depth and a sense of breath. As soon as a stroke is made, the ink instantly blends and penetrates the paper, which cannot be fully predicted or controlled. This simulates the endless and impermanence of "Tao".
② Water and ink, one clear, the other turbid, one soft, the other hard, embody the philosophy of yin and yang and infinity. Their harmony itself is a practice of yin and yang philosophy. Ink is Yang, water is Yin; thick is Yang, light is Yin; solid is Yang, empty is Yin. By controlling the ratio of water to ink, the artist creates an infinite color spectrum on paper, from extreme depth to near nothingness. The infinite layering of ink images transcends the appearance of color and directly points to the essence and rhythm.
③ Natural pigments come from minerals, plants, and animals. They have a calm color that lasts forever, symbolizing the interweaving of eternity and the moment. These pigments connect the heavens, the earth, and the mountains, and contain the "spirit" of nature. They settle in the picture, forming a stable and eternal material existence, which forms a sharp contrast with the flow and change of ink. This "eternity of matter" and "the instantaneity of ink and wash" together constitute a profound reflection on temporality - pursuing both the momentary experience of enlightenment and the eternal immortality of the spirit.
It is because I have deeply understood and inherited this tradition that I can use the most "Eastern" materials to express the most "contemporary" art and the most "eternal" spiritual connotation. I regard ink, rice paper, and natural pigments as a vital energy field. The works composed of these spiritual materials are no longer just a "painting", but a complete "microcosm of the universe". When the viewer faces such a work, the first thing he feels is not a depicted object, but an energy field that he can walk into. This high degree of unity between material and spirit enables Eastern art to open up the most profound spiritual realm with the simplest materials.
In China, there is a type of painting called "Feng Shui Painting". These paintings generally use some cultural and metaphorical symbols, such as dragons, phoenixes, Tai Chi, mountains, water, swimming fish, etc. to express people's yearning and expectation for a better life. People generally believe that this kind of painting has energy and can improve their own destiny and environment.
Compared with "Feng Shui paintings", my works do not need to express wishes through specific symbolic symbols. Instead, they directly trigger the viewer's Alaya consciousness (eighth consciousness) fluctuations through the high-frequency light waves and flowing color fields in the paintings, allowing the audience to resonate with the energy of the universe in a "no-dwelling" gaze, thereby obtaining spiritual healing and purifying the soul.
In your practice, you seem to blur the boundaries between figuration, symbolism, and abstraction. Do you see this hybridity as a deliberate aesthetic rebellion against rigid classifications in art history, or as a natural reflection of the fluidity found in both nature and traditional Eastern thought?
There are profound differences between Eastern and Western philosophy in terms of thinking styles, core issues, methodologies, and cultural backgrounds, which stem from their respective unique historical, religious, and social traditions. For example: the Taoist view of yin and yang, and the Buddhist view of the non-duality of form and emptiness.
The blurred boundaries between concrete, figurative and abstract in my works are a "natural reflection of fluidity" based on Eastern philosophy and aesthetics. The fluidity of traditional Eastern thought is the inherent logic and cultural bloodline of my creation, and the natural expression of my artistic concepts. "Emptiness" itself is a core concept in Eastern philosophy (especially Taoism and Buddhism). It is not "nothing", but an undifferentiated original state that contains infinite possibilities. In this state, all boundaries (such as matter and self, subject and object, form and spirit) are artificial and temporary. My creation attempts to capture this "no boundaries" experience with visual language, allowing images to emerge from the void and dissolve into the void. Therefore, the blurring and blending of images are the natural result of philosophical ideas, rather than a deliberate formal technique.
The core of traditional Chinese art has never been "concrete" (realistic reproduction) or "abstract" (pure form), but "imagery" - between likeness and unlikeness, pursuing "transcendence of physical images." My works inherit this aesthetic gene. There are no rigid boundaries in the paintings. Colors and inks penetrate, collide, and flow with each other, just like the beginning of the universe and the flow of energy. This itself is a contemporary interpretation of "Qi".
What Chinese artists depict is not merely the physical objects seen with the eyes (concrete images), but rather the "mental imagery" that emerge from inner perception and sublimation. This "mental imagery" is inherently subjective, ambiguous, and fluid, originating from nature while transcending it. My works can be seen as the direct manifestation of my inner feelings about the universe and nature, and the natural externalization of "mental imagery".
Art history is, to some extent, a history of constant classification, definition, and change. My work transcends the boundaries of these categories. It can switch freely between figuration, symbolism, and abstraction, and cross-border integration, showing another possibility for artistic development - a non-linear, inclusive, comprehensive, and multi-dimensional path. My hybridity forces audiences and critics to put aside pre-set categories, face the work itself directly, and experience it in a more holistic and emotional way.
My hybridity is a "natural reflection" rooted in the soil of the East, and the result of this "natural" nature is not rebellion, but integration, a deep and confident transcendence, proving that those aesthetic concepts derived from ancient wisdom are still full of vitality and foresight today.
Many of your works suggest an alternate realm, which you’ve called a “transcended imagery of god” or a “soul world.” How important is the idea of transcendence in your work, and how do you hope it transforms the viewer’s perception or consciousness through encountering your art?
My "Void Realm" series directly points to the essence of "emptiness" in Buddhism. It does not depict the concrete world, but reveals the illusory nature of the phenomenal world, the instantaneous nature of consciousness, and the inevitability of spiritual liberation through the flow of colors and changes in light and shadow. This is a “consciousness space” that transcends the material world. It is based on the foundations of Eastern philosophy and aesthetics, but uses an international abstract vocabulary. This language itself is a product of harmony, dedicated to finding a visual expression for common human spiritual experiences (such as awe of the universe, the exploration of the essence of life, and the desire for inner peace).
This "consciousness space", with its high spirituality, eliminates the binary opposition between subject and object, transcends the differences in specific issues such as politics, society and identity, turning to metaphysical spiritual exploration, and leads viewers from different cultural backgrounds to a common concern for ultimate propositions such as the essence of life, the mysteries of the universe, and inner peace, thereby triggering people's spiritual resonance.
This "consciousness space" beyond the material world isn't a distant physical space, but rather resides deep within our consciousness, corresponding to the eighth consciousness (alaya consciousness) in Buddhist Yogācāra. Because each of us possesses an alaya consciousness, and these are interconnected and contain similar karmic seeds, these seeds collectively manifest as the "universe" we see. This is called "common karma."
When we enter the level of the eighth consciousness (Alaya consciousness), we have deconstructed the obsession with the material world and eliminate the concept of binary opposition. Here, our souls are truly integrated into the universe, resonating with the frequency of the universe, and gaining spiritual liberation and soul freedom.
My "Void Realm" series is a spiritual channel that guides the audience into the "Alaya Consciousness". Its non-narrative images composed of abstract light and color textures force the audience's visual cognition to shift from "interpreting images" to "intuitive experience". I allow viewers to cut off their conceptual thinking chains in the gaze of "no dwelling", prompting them to eliminate "self-attachment" and enter the state of "no self", resonate with my paintings, and touch their inner "alaya consciousness". Let them experience "impermanence" and "emptiness" through intuitive images, thereby transcending material obsession and pointing to spiritual liberation and soul freedom.
Many examples have proven that my works trigger different reactions in the audience. Some people use the first five consciousnesses to experience my works, and derive beauty and pleasure from them; some people use the sixth sense (consciousness) to experience my works, and derive spiritual sustenance and psychological healing from them; some people use the seventh sense (manas) to analyze my works, and judge their right and wrong, and their quality; Some people use the eighth consciousness (Alaya consciousness) to resonate with my works, gaining huge cosmic energy from it, clearing away karma (purifying karma seeds), and sublimating the soul.
Different people, at different levels of consciousness, experience my work differently. Because my work is a projection of my Alaya consciousness energy field, I invite viewers to perceive it with their own Alaya consciousness. This will allow them to resonate with my work to the greatest extent possible, thereby receiving the energy of cosmic "love", helping them achieve an upgrade in consciousness and spiritual sublimation.
In short, my "Void Realm" series of works is not just an alternate realm, it is a complete philosophical concept, way of perception, and experience system. Through multiple interactions at the visual, philosophical and spiritual levels, it gently and profoundly guides the audience to transcend the material appearance and perceive the invisible yet ubiquitous essence, energy, and interconnection, thereby achieving spiritual liberation and freedom of the soul. For the audience, this is not just about viewing a painting, but also a mind practice and spiritual experience.
As a trailblazing figure working at the intersection of tradition and innovation, how do you envision the future of Chinese contemporary painting? What legacy do you hope your practice leaves, not only in terms of aesthetic innovation, but in fostering deeper understanding between East and West through art?
As a unique and profound exploration in contemporary Chinese painting, “The color of Surupa” serves as a bridge connecting the past and the future, the East and the West, and its potential legacy is rich and transformative. Its inspiration to contemporary Chinese painting is the paradigm of "rooted innovation". It proves that cutting-edge innovation can originate from the deepest tradition. It does not sever its ties with tradition, but rather delves into the source of Chinese philosophy (especially Taoism and Buddhism) and aesthetics, extracting the core concept of "emptiness" (profundity, change, essence) from it, and using this as a starting point for contemporary transformation. It reaffirms the value of its own tradition. Let us see that the ancient Eastern wisdom derived from China's Confucianism, Buddhism and Taoism is fully capable of growing into highly contemporary art forms.
The future of Chinese painting does not have to stick to the established traditional procedures, but can carry out "creative transformation" and "innovative development" of tradition, using the traditional philosophical core to drive the modern evolution of form. “The color of Surupa” does not simply utilize traditional Chinese painting materials (such as ink, rice paper, and natural pigments); rather, it deeply understands and innovates them, achieving a high degree of unity between materials and spirit. It expands the dimensions of "light and color," aligning them with the realm of "emptiness" (profundity, change, and essence), creating a visual experience that is both profound and magnificent.
This philosophical use of materials transcends the realm of mere technique. The painting medium is not only a tool, but also an extension of thought, a carrier of consciousness awakening, and a container of cosmic energy. “The color of Surupa” emphasizes the randomness, fluidity and unpredictability in the creative process, subverting the creative concept that emphasizes pre-design and complete control. It provides a creative method for future painting that focuses more on experience, meditation and dialogue with materials. Art is not only about making a product, but also about completing a ritual of cultivating the mind and enlightenment.
“The color of Surupa” leaves behind for the future not only a new painting technique but also a methodology and a worldview. It is a brand-new spiritual language, a mature grammar of aesthetic innovation that blends Eastern ethereal artistic conception with Western color tension. It is a "consciousness space" that transcends the material world, deconstructing the material world and eliminating binary oppositions. This will greatly enrich the visual vocabulary of Chinese and even global art.
In paintings of “The color of Surupa,” the ever-changing infinite mental images reveal to us that all phenomena are created by the mind and nothing is eternal. This also reminds us: in today's materialistic trend, the fame, power, status, wealth, and other phenomena we are obsessed with are all short-lived. We should face the changes in society, life, and environment with a calm mind, so that we are not bound by material desires, and thus gain spiritual liberation and freedom of soul.
“The color of Surupa” provides an artistic text that can be interpreted in both directions to promote understanding between the East and the West, opening up a sensory entrance for Western audiences to understand the core spirit of Eastern philosophy. The abstract form reduces cultural barriers, and the spiritual feelings evoked by the picture guide them to come into contact with the Eastern wisdom behind it. This art form effectively promotes in-depth dialogue and mutual understanding between different cultures.
For Eastern audiences, it provides a way to reinterpret and understand the essence of their own tradition using a modern, internationally accepted artistic language, expands the "freehand" spirit of Chinese painting in the contemporary era, and sets an example for the modern transformation of traditional Chinese painting. The propositions explored in “The color of Surupa,” such as "universe, energy and existence," are the ultimate issues of common concern in human philosophy.
These issues are also the propositions explored in the abstract field of Western art (such as Kandinsky, Rothko, and Pollock). Therefore, the value of “The color of Surupa” lies in that it responds to these common human propositions with Eastern philosophical thought and Chinese artistic language, providing a solution and perspective from the East. This enables the dialogue between Eastern and Western art to go beyond simple imitation of form and borrowing of symbols, and to communicate on a more equal and profound philosophical level.