ABSTRACT
During a pandemic outbreak, global turmoil, and widespread emotional unrest, the artist experienced a serendipitous journey of inner reflection and healing. The artist found comfort and balance in body, mind, and spirit by participating in online singing bowl sessions. This process inspired the transformation of these spiritual experiences into artistic creation, serving as a way to overcome creative stagnation and explore new modes of expression.
This research's core concept lies in "depicting the state of mind rather than the scene," integrating Eastern Zen philosophy with contemporary ink painting techniques. The artist moves beyond mere representation of the visible world, instead employing brush and ink to express shifting mental states and spiritual imagery. This method is closely aligned with the Zen practice of contemplative observation.
The creative work is divided into two main series: Imagery and State of Mind. The Imagery Series consists of three components—Chaos, Vastness, and Illusion—expressed through deep indigo tones, symbolizing the artist’s psychological journey in the post-pandemic era. The work moves from initial confusion, through the cosmic stillness of vast emptiness, to a sense of liberation and freedom within a fantastical space-time. The State of Mind Series, composed of Illusory Realm, Ease, and Void, focuses on the sublimation of inner emotion and the settling of the spirit. Layered brushwork portrays perception within illusion, fluidity within serenity, and the quiet, ethereal quality of the void.
Through this creative practice, the artist incorporates Eastern aesthetic thinking and uses brush and ink to express the Zen beauty of calm and mindfulness. Art becomes a vehicle for inner peace and healing. This approach aims to create a profound fusion of art and spirit, evoking resonance and therapeutic reflection in the viewer. This creative journey deepens the artist's understanding of Eastern aesthetic philosophy and fosters perceptual and emotional connections with contemporary audiences, further expanding the potential of art as a spiritual practice.
Keywords: Oriental aesthetics, modern ink painting, spiritual imagery