Detail of Fine Drawing 96-01, 117x946cm, Paper, 1996 (Featured in the National Taiwan Museum of Fine Arts solo exhibition Exploring Context). Private Collection of Wu Chong-hsien.

Detail of Fine Drawing 96-01, 117x946cm, Paper, 1996 (Featured in the National Taiwan Museum of Fine Arts solo exhibition Exploring Context). Private Collection of Wu Chong-hsien.

Detail of Fine Drawing 96-01, 117x946cm, Paper, 1996 (Featured in the National Taiwan Museum of Fine Arts solo exhibition Exploring Context). Private Collection of Wu Chong-hsien.

Fa, 214x198cm, Acrylic on Canvas, 1991. Collection of the National Taiwan Museum of Fine Arts.

Photographed at Chen Shih-ming’s Zhonghe Studio, 2000.

Full view of Chen Shih-ming’s solo exhibition Truth Revealed, Eslite Gallery, Taipei, 2000.

Full view of Chen Shih-ming’s solo exhibition Truth Revealed, Eslite Gallery, Taipei, 2000.

Full view of Chen Shih-ming’s solo exhibition Truth Revealed, Eslite Gallery, Taipei, 2000.

Qi-Dong Xie-Xing (Form Generated by Vital Energy), Joy for All, 120x240cm, 2012.

Detail of Qi-Dong Xie-Xing, recorded at Danshui Studio, 2002.

Detail of Qi-Dong Xie-Xing, recorded at Danshui Studio, 2002.

Water Connects to the Azure Sky, 142x203cm, 2011. Featured in the National Taiwan Museum of Fine Arts solo exhibition Exploring Context.

Standing Side by Side, 142x199cm, 2011. Featured in the National Taiwan Museum of Fine Arts solo exhibition Exploring Context.

Empty Alley, 200x511cm, 2011. Featured in the National Taiwan Museum of Fine Arts solo exhibition Exploring Context.

Light-1, 219x415cm, 2011. Featured in the National Taiwan Museum of Fine Arts solo exhibition Exploring Context.

Aggregation, 252x392cm, 2011. Featured in the National Taiwan Museum of Fine Arts solo exhibition Exploring Context.

"Art is the ultimate meaning of life, the call of life's spiritual energy."

Chen Shih-ming

Text by Chen Chi-hsiang

Preface: What is art? What is its purpose? Where does inspiration come from? Who is it created for? Why express it? Where is one's place in life? Is art the creator's doubt, process, or answer? Are art and life two different things, or the same matter? Is art an attitude toward life, or merely a profession for making a living? What is the relationship between life, self and objects, existence, and art? What is the ultimate meaning of art? Is the original work of art "life"? What is the artist's commitment to their own life and the essence of art? Art is diverse and varied, just like life. Art is performance; art is cultivation; or art is the meaning of life. Art can be simple, where the painter becomes a drawer; art can be complex, forming an artistic philosopher or a life artist. Everyone understands its meaning in their own way. Ultimately, whether the truth of existence is realized depends on one's ability and wisdom. Clearly, art is a projection of a state of mind (consciousness) and serves as a clear mirror for the artist, reflecting their current thoughts and circumstances. A wise artist not only presents themselves but also reflects their overall consciousness of life or meanings that transcend existence itself.

Teacher Chen Shih-ming’s art possesses a grand, wise, and elegant perspective, along with insights into existence. His artistic forms expand with the consciousness of the heart; as the heart changes, so does the language, and his creations reflect the twists and turns of life’s cultivation and realization. His art does not rigidly establish a personal style; instead, it flows with the consciousness of each moment, spontaneously interpreting the context and awareness of every scene. This validates Chen Shih-ming’s view of life art: "One beauty, all beauty." He no longer blindly pursues new types of artistic creativity focused solely on formal innovation. Instead, he simply conveys what he has realized, observing the Dao with a clear mind, embracing a new aesthetic thinking of tranquility and elegance.

Chen Shih-ming – The Original Work of Art is "Life": Chen Shih-ming (born 1948 in Xizhou, Changhua) is known by the general public as one of the most mysterious and difficult-to-understand artists in the Taiwanese art world (Note 1), yet to those who know him, he is a kind, amiable, and respectable person. His paintings are like him: clean, crisp, clear, pure, rational, serene, and wise; never verbose, nor speaking too much. He is also rare in the contemporary visual arts community for having embodied the art of life through body and mind. He holds a unique worldview regarding the realization of life and the universe, which is deeply attractive, offering profound existential inspiration, guidance, and influence to those around him. Full of spirituality, he adopts a macroscopic, diverse, and open approach to art education, respecting students as he respects the site, teaching art with life as the subject. He has had a profound inspirational and influential impact on contemporary Taiwanese art, especially through his philosophical thoughts on life art, his creative attitude, his awareness of human existence, and his启示 (revelation) of new aesthetic thinking. Teacher Chen Shih-ming is my mentor in both art and spirit, a teacher who influenced my art and life for my entire lifetime.

After graduating from the Taiwan Provincial College of Arts in 1970, Chen Shih-ming went abroad to study in Spain, graduating from the Real Academia de Bellas Artes de San Fernando in Madrid. Under the rigorous realistic training of Spain’s great painting tradition—particularly in light and shadow, form, color, and composition—he laid the foundation for his future artistic creation. During his studies in Spain, he was deeply influenced by two masters: Antonio López (born 1936), a traditional fine-drawing realist from Madrid, and Dabier, a material abstract painter from Barcelona. The artist said: "Although I have only seen one original sketch by López, to this day he remains the best realist painter I have seen for sketching from nature. His reverent heart toward scenery, along with Dabier’s and the author of the rock garden at Ryōan-ji Temple in Kyoto, has had a profound influence on my work" (Note 2).

In 1977, after graduating from the Real Academia de Bellas Artes de San Fernando in Madrid, Chen Shih-ming moved to New York, the center of the world’s art world, to observe art. However, news arrived of his father’s sudden death in his prime. He returned home, deeply realizing "the impermanence of life and its true meaning." He began to observe the confusion surrounding life and existence. Life lay between art and existence, becoming the two greatest themes of his life. At that time, the debate over localism in Taiwan was rising, awakening local consciousness and乡土 literature. He established the Qiaoxiang Studio and taught printmaking courses while working as an artist, beginning his creation of fine drawings and striving to become an artist. In 1980, he held his first exhibition at Apollo in Taipei. In 1982–83, his works were selected for the International Miró Sketch Exhibition. At this time, life advanced amidst wave after wave of twists and turns, often entangled between the limitations of artistic creation and the perplexing problems of life itself. He began to reflect upon himself. Chen Shih-ming said: "By chance, I saw the words 'Guan Zi Zai' (Observing the Self-Nature) on a print, which made me ponder how observation leads to freedom, and what wisdom life holds. Additionally, the words left by Venerable Master Guangqin before his passing: 'No coming, no going, no affairs,' were deeply embedded in my heart. How can one be so detached when leaving this world? If applied to an artist, could I also be so free?" Thus, he began to ponder: "Should I play the role of an artist, or is life a practice? Is art a practice? I began to consider whether art is life art or visual art," and his view of life art began to take shape (Note 3). He began to touch upon the theme of life, contemplating the truth of life, seeking inner eternity, and opening his spiritual journey.

In 1984, his artistic creation seemed smooth sailing. He held a solo exhibition titled "Large Sketches" at the Spring Gallery in Taipei and the Marco Nardi Gallery in Milan, Italy. It was a great opportunity to display his art, yet he fell into confusion again, unable to find a viewpoint on life. He questioned whether the viewpoint on life was more urgent than the viewpoint on art, and wished to practice Zen. He began to face the choice of life: "What is the regret of life? What use is art? The confusion of life has far more meaning than art."

This prompted him to resolutely put down his brush and fade from the art scene, not only due to confusion about existence but also questioning art itself. Chen Shih-ming said: "In 1984, I visited the Venice Biennale, a landmark of contemporary art in Italy. Seeing many avant-garde artworks with dazzling formal expressions, I felt that Western contemporary art generally did not go beyond three elements: violence, lust, and anxiety. I felt I did not belong to these characteristics of Western contemporary art at all. What I sought was actually a sense of tranquility and the fulfillment of life." "I thought of Rodin’s lust, Bacon’s violent madness, and Giacometti’s nihilism. I simply did not have such things inside me. Even when I was young, I did not have such things." "Many people agree that art is a symbol of bitterness, but I feel that for painful people, the most important thing is how to solve the source of pain." "Regarding art, I realized I leaned toward Giacometti’s idea of 'removing all existence.' If wild passion is contemporary art, then I told myself: 'Perhaps I am not suited for art'" (Note 4).

Thus, Chen Shih-ming could no longer endure the short suffering of ignorance about life, and grew weary of modern art’s诡变 (treachery/changeability) and commercialization. He shifted from pursuing the glamour of modern painting to the great beauty of life. He said: "If the artist’s world is only imagination, how does reality enter this world? If that realm is only imagination, how can one compensate for the doubts of life?" Finally, he clarified that "art cannot resolve the internal anxiety and distress of life," and resolved to strive toward the path of liberation.

In 1985, Chen Shih-ming traveled to Kyoto, Japan. After seeing the magnificent Zen temples and famous dry landscape gardens, he was deeply moved by Zen, thinking, "How can such a place be so tranquil?" He experienced an extraordinary peace, which reminded him of the stark contrast with the Western art he had previously studied. In contrast to the West’s denial of humanity, unease, and fear, he saw the peaceful world of Zen. He realized that one must sit down to see anything; sitting down feels like uniting with the universe. Previously, he believed art required innovation, but when he sat down, he found the world right before his eyes, and everything else was born of the mind. The important thing was to open one’s eyes (Note 5). After the trip to Japan, his beliefs were further strengthened. That same year, after participating in the Lion Biennial, he completely let go of the role of artist. What could be more important than returning to the value and meaning of life and living? Calmly and peacefully, he sought the meaning of existence and a balance point, because the essence of life must be understood through the actions of life. Thus, he entered an exploration of self-centered quiet contemplation. From 1985 onward, he resolved the puzzles of life, bowing to the reality of birth. If painting could only be looked at but not attained, the doubts of life would grow larger, and conflicts would increase. He put this into practice, entering introspection. Through meditation, reading the mind, contemplation, looking inward, he entered his life of practice.

Chen Shih-ming’s exploration of the soul began with Laozi and Zhuangzi, followed by self-study of Zen and Buddhism. Through self-exploration, he focused on calming the mind, meditation, sitting in silence, and stopping thoughts to gaze. Sometimes listening to Buddhist sutras, he relied on no religion or rituals, thus remaining unrestricted. In 1985, during a period of sitting in silence, he had his initial realization. He said: "That was the most wonderful experience of my life." All life experiences were dismantled in that brief instant, without the burden of memory, neither past nor future. "I felt myself in a transparent, weightless state." He understood that humans suffer because of the accumulation of past memories and experiences, but in fact, humans possess the power to overcome all this (Note 6). Life is transformed through experience itself or through the revelation of wisdom; experience and revelation constitute the transformation of all inner content.

Chen Shih-ming continued to explore bitterly how to clarify the mind and see the nature. Continuing his deep contemplation, meditation, and sitting, he clung to the appearances of life. In 1989, he had his second realization. In the calmness, he suddenly felt a pang of heartache. "It hurt deeply," he said. "He thought that after so many years of calmness, why would such pain suddenly arise? Only then did he clearly realize how deeply he had buried his unease." "(...) The shadows of past unease and fear were all still there." Self-exploration is not just sitting and meditating; it must be practiced through certain actions. Stopping thoughts to gaze became the awareness of the current state of every thought, clearly knowing the changes in the heart at every moment. Ultimately, he discovered that all unease comes from past accumulations, which is the deepest layer of his meaning (Note 7).

Chen Shih-ming’s method of practice was keeping a daily mental diary, recording his arising thoughts and movements every day. For eight continuous years, he carefully examined his dense thoughts. He said: "Writing every day, this notebook is my heart map, the map of my inner heart." Recording the changes of the inner heart, observing the origins of change, and finally understanding the underlying knots, surpassing the deep entanglements with life, death, the unknown, and memories. Only then did he realize that the core ability of humans is released in a state of emptiness and awareness. By maintaining a state of stillness at all times and grasping every moment of oneself, one grasps life. He said: "People today often say living in the present. Awareness of every moment makes me feel that I live in every scene." Regarding the heartache, he simultaneously detached himself. The origin of Chen Shih-ming’s second heartache was related to art. He said: "Humans are essentially a process of soul, thought, emotion, desire, and action" (Note 8). In June 1989, Chen Shih-ming participated in a Modern Zen retreat. The following April, he passed the guidance of the main instructor, promoting the path of life in Modern Zen (Note 9).

In 1991, Chen Shih-ming realized the meaning of life. Understanding existence and the soul through Buddhism, Daoism, and Zen, he set out anew. Driven by a vitality of full joy from within, he picked up his brush again. In a life of aware realization, he offered saturated colors, transforming the contemplation of emptiness into brilliant and colorful hues, entering the mental realm of "willow dark and flowers bright, another village"—abstract geometry. Art not only presents itself but also reflects the artist’s overall consciousness of life or meanings that transcend existence itself. The following year, he held solo exhibitions at Eslite Gallery in Taipei and Apu Gallery in Kaohsiung. Chen Shih-ming said: "Artistic creation is often forged from distress. Artworks are sometimes questions, sometimes answers, sometimes processes. Since engaging in artistic creation, I have constantly thought about and explored various aspects of artistic elements, such as time, space, plane, nature, object, geometry, color, change and unchange, attempting to find the most primitive ultimate truth." (Note 10)

After passing through the brilliant abstract paintings, Chen Shih-ming豁然开朗 (suddenly saw the light) and arrived at the pure, empty white realm of life where "tranquility is beauty." "The mind finds joy in pure liberation, hence it is named 'Emptiness'."

In 2000, he held the solo exhibition Truth Revealed at Eslite Gallery, practicing and transmitting the concept of "stopping thoughts to gaze." Finally revealing the truth, he realized life: "All dharmas are Nirvana, all realms are as they are." Chen Shih-ming smiled and said: "My position is now different from that of an artist" (Note 11). Finally resolving the puzzle, he realized "Art is the ultimate meaning of life, the call of life's spiritual energy." Everything is created by the mind: "You are the original work of your artwork," "One beauty, all beauty." Clearly, within the holistic view of art and life, he no longer blindly pursued new types of artistic creativity focused on formal innovation. He simply conveyed what he had realized. He said: "As long as I can still paint, I will embed my realization within it."

Truth Revealed marked Chen Shih-ming’s realization of the ultimate meaning of painting art. With full joy, he expounded "Mind thinks of things, things arise from thought; Mind awakens to emptiness." In 2001, Chen Shih-ming moved from Zhonghe to Danshui. After experiencing gazing without thought and achieving emptiness through a quiet heart, he existed freely. In 2002, under a state of spiritual clarity and purity, he sensed the great power of the existing universe. In a super-conscious state close to mediumship, through instinctual and spontaneous "Qi-Dong Xie-Xing" (Form Generated by Vital Energy), a series of unprecedented black and red calligraphic images were born. These differed greatly from traditional calligraphy, being very abstract, full of kinetic energy, and resembling heavenly scripts with their unsolvable mystery, shrouded in thick mysticism. At the end of the year, Chen Shih-ming held a unique solo exhibition of "Qi-Dong Xie-Xing" calligraphy at the Taipei County Cultural Center. The journey of life, with its twists and turns, was accompanied by harsh tests and difficulties in life. Chen Shih-ming accepted everything without complaint or regret. Life becomes more vibrant because of the adventure of bearing one’s rightful journey of existence. Once again, he faded from the art scene.

In this endless, long heart-path exploration of life, Chen Shih-ming’s realm of practice is divided into two major stages: early engagement with the world, viewing life from a Zen perspective, and post-2003, viewing life from the perspective of the universal atmosphere. The realization and growth of life (Note 12) involve complete acceptance and naturalness, bearing even the greatest hardships of life. Because life is a trust and a test, and a test is a form of learning, the most beautiful aspect of life is "fearlessness," and the feedback of life is "beauty." The beauty of life is returning to the fundamental virtues of Wisdom, Benevolence, and Courage. He believes: "Life has a mission. Life is a trust. Everything we possess is given by the Creator. How we handle this trust is the driving force to move forward. Moving forward, no matter how far, we can learn in the next life. Therefore, life is eternal. Living beings are always learning, continuously generating. With this belief, one becomes brave" (Note 13), because existence is all possibilities.

After a decade of silence, with the ripening of life and the shift in mindset, the artistic context underwent a major turn. Facing various hardships in life, Chen Shih-ming’s mindset was without doubt, without worry, and without fear. This explosive power of fearlessness naturally produced a bright visual context of myriad phenomena. In 2012, the "Comprehensive Exploration of Context" series of myriad phenomena reconstituted dense spaces of myriad images through numerous visuals. These image paintings shuttling through time and space validate Chen Shih-ming’s view of life art.

Mental State - Fine Drawing: In his early years, Chen Shih-ming was unique in his fine pencil sketches, depicting various plants in nature such as flowers, grass, leaves, and stems, including lotus leaves, bamboo, bamboo branches (thorns), bamboo leaves, bamboo shoots, taro leaves, cannas, parasol tree leaves, miscanthus, intertwined branches and leaves, etc. Through the fleeting glimpses and fragments of nature, using delicate and precise realism combined with unique composition and negative space, he carved the soft posture of plants,窥探 (peeping into) the appearance of existence. Sketches were no longer drafts for creation or casual records of inspiration, but independent works. In terms of materials, pencils have their own characteristics: strong, powerful, without needing to consider color, presenting contrast through simplicity. Pure black-and-white pencil sketches, after detaching from color, reveal a unique illusionary quality that other materials cannot replace.

This series explores natural objects in time and space, particularly light and shadow, chiaroscuro, image, texture, and existence. Under the simplest, crispest, and most elegant forms, such as leaves outlined in a few strokes, funnel-shaped lotus leaves, curled taro leaves, a solitary bamboo shoot, overlapping and interlaced leaves, flying slender bamboo, charming cannas, tangled clusters of bamboo, rhythmic pasture grass, ethereal miscanthus, and airy lotus leaves, etc. In simplicity, showing the invisible through the visible, alternating void and solid, constructing the invisible whole. Another striking feature is the unique and charming light, crystal-clear leaves contrasting with branch shadows, isolated branches and leaves under overlapping contrasts, intersecting light and shadow on branches, and even a whole lotus flower blending into the empty white, creating an ethereal and spiritual mood. The melody of light constructs the tone of chiaroscuro, forming a lyrical and poetic symphony.

Chen Shih-ming’s wonderful pencil sketches have a most unique vocabulary: dynamic composition, derived from his basic training in traditional Western painting. Simplicity implies rigorous structure. In natural, perfect geometric or non-geometric organic organizations, each piece is a world. Among this sketch series are many rare and outstanding compositions: such as the radiating "95-1," inverted triangle "95-02," pyramid "95-17," chiaroscuro contrast "95-09," linear radiating "95-14," and hidden vertical and diagonal lines "95-16" from the mid-1990s. Kandinsky wrote: "Pure composition in art is not enough to appeal to the senses; the artwork itself must evoke a deeper resonance."

Figurative form is the vocabulary, light and composition are the grammar, and negative space constructs the artistic context. White (negative space): Is it emptiness? Is it void? Is it omnipresent? Is it no-thought? Is it intuition? Or is it imagination? White is the whole, the entirety, the total space, the universe. Chen Shih-ming has a preference for white, especially in this fine drawing series, where negative space holds unique significance and reference. Chen Shih-ming questions white: "White provides humans with rest, contemplation, a pause for vision and soul. It has a state of mind without expectation, which the soul desires." Negative space acts as an intermediary, allowing the projection of matter. White is the background and also the theme. Traditional negative space signifies space. Here, "showing the invisible through the visible, unity of void and solid, or showing the solid through the void" (Note 14), creating two layers of space: projection and negative space (space), constructing the composition of form, color, material, and light in space, revealing mental states and the field of the soul. White paintings dialogue with light and shadow; they are the shadows of entities, the entities of shadows. Cause and effect, the total reality of emptiness, and the total great truth of solidity.

Figurative is merely a bridge, leading people to yearn for the infinite. But figurative is a visual trap; people stay only on the image, unable to lead to "emptiness."

Abstract Geometry of the Mental Realm: Starting in the 1990s, Chen Shih-ming’s creation entered the mental realm of "willow dark and flowers bright, another village"—abstract geometry (he continued to explore pencil sketches). In the trend of postmodern abstract geometry or geometric abstraction, he liberated object images, creating clear, clean, and crisp geometric color abstract paintings, condensing the energy of pure geometry and color. The greatest difference from Western abstract geometry is not just culture, but the creative attitude and view of life that directly point to本性 (original nature), continuing to deepen artistic connotation and conscious existence. This series uses the geometric forms of canvas and frames, intuitively arranging blocks like toys, constructed on different facades and planes.

In the early stage, after realizing the primal nature of life, he returned to the contemplation of life. In a state of liberated consciousness, sensitive and enthusiastic abstract geometry burst forth with brilliant, high-saturation colors, condensing all possible energies and movements. Intuitive geometry expresses a unique elegance, generosity, lyricism, and solemnity, hinting at a sacred feeling like "Fa" (1991). The unprecedented colors of this period not only had special charisma, intensity, and strength, but also reflected Chen Shih-ming’s life energy and mental state. For example, "Mind State" (1992) was constructed on a white interface with seven colors: red, orange-red, yellow, blue, green, purple, and blue-purple. Do the seven colors symbolize seven spiritual realms? Color blocks and geometric juxtapositions formed extraordinary color movements, such as "Three Minds" (1991). Besides, there were vertical and parallel linear movements, such as "Journey to the Source" (1991) or "Ascension II" (1992), etc.

In the later stage (after 1995), the series using white as the carrier became cleaner, crisper, and more minimal. Like the finishing touch, he composed fragments of colorful small color blocks (red, orange, yellow, green, blue, black, etc.). Using various techniques: painting, splashing, spraying, scattering, dripping, and flicking. Finally, these geometric planes were pushed and combined with a single main tone. Thus, through intuitive construction of multi-plane geometric color paintings, combined with contrasting brushwork, breaking the original "minimal" into a "complex" rigorous and intricate structure. Between minimal and multiple, sensibility and reason, robustness and generosity, rigor and lyricism, order and geometry, abstraction and essence.

Clearly, the early abstract geometric forms were complex and variable, color applications were brilliant and diverse, full of instinctiveness, overflowing with rich sensibility, with themes symbolizing the spiritual journey added to the movement of color blocks and lines. The later works were simpler and more minimal. Under the main structure of white, colored makeup shines brightly, calm and stable, awakening spirit and consciousness, presenting a state of mind. More pure and quiet, (sketches and paintings) themes were replaced by dates and numbers, restoring the abstract essence. Malevich wrote: "In the creation of painting, what is more precious is color and organization: they constitute the essence of painting, where the theme is destroyed." If the painting language of this series is placed in the field of Western modern art, it would be seen as color (or color plane) geometric abstraction. But the painting that liberates life has transcended painting itself. Chen Shih-ming said: "With no expectation of mind, freed from confusion through painting." Art is above and below everything, belonging neither to time and space nor to history. It belongs purely to the verification of life, displaying the painter’s current mental state and existential context.

Realizing the Truth Revealed of Life: Truth Revealed was Chen Shih-ming’s solo exhibition at Eslite Gallery in 2000. After passing through the brilliant abstract paintings of "willow dark and flowers bright," he arrived at the vast, pure, empty white realm of life. Truth Revealed primarily explored the deep relationships between object and self, perceiver and perceived, time and space, myriad phenomena and original essence, stopping thoughts and pure emptiness. From reading nature and everything seen, turning inward to stop thoughts and gaze, reading the original heart, recognizing the truth, silently illuminating the inner world inwardly, clarifying the mind and seeing the nature in the moment of distinct thoughts, what is presented is the reflection of the pure original heart and mental state. It embodies and verifies the artist’s realization of life. He said: "The beauty of art lies in realization, in expressing what is obtained in the heart. The so-called 'Knowing - Doing - Verifying' (Note 15)."

The Original Essence of White: In the exhibition space with all-white walls, white works were arranged according to the space, under white fluorescent lights, creating a feeling of pure emptiness, constructing a white atmosphere. White begins from nothing; it is both the starting point and the endpoint, meaning neither beginning nor end. In the original state of things, it is also a spatial field of spirit. White is the minimum but not the limit. White allows inward observation: the silent world, the absolute state—"Mind Awakens"; outward observation: the life states of birth, aging, sickness, and death—"Mind Thinks." White paintings accept the white wall, merging into the overall space, forming a unified universe. White forms a boundless and constant-less vast space. Space constructs time; time merges into space, naturally formed. Object and self unite; matter disappears, spirit is called forth, like a vacuum world. White does not explore space; it signifies "Emptiness." Merging into the white wall, the entity is nothing but emptiness itself. Tranquility is beauty. In mind-awakening, in matter, vision, sensation, space, time, object, and until nothing remains, the essential nature of "White" is manifested.

Art Element White: A series of pure white paintings, applying white layer upon layer on the canvas, with no brushstrokes, no traces. Chen Shih-ming said: "Painting, painting again and again, painted dozens of times. Do you know? It depends on whether we can look again and again. Or do we know it at a glance? Do these belong to looking? The truth is here." In The Little Prince, it is written: "Only with the heart can one see clearly; what is truly important is invisible to the eye." Additionally, four long paintings used white as the carrier. Through white paper or canvas pasted inside acrylic frames, they expressed various textures and perceptions of white. One white block grew spots of mold, revealing the temporality of existence. White paintings not only established the gallery domain (arranged according to architectural space, varying in height, following walls, pillars, edges, corners, or diagonals), but merged with the white walls into a whole, presenting a temporal state of vacuum and spiritual energy field. Thus, white becomes capacity; it contains everything and becomes everything, highlighting the state of total existence, peeping into the great truth of life.

Material White: Chen Shih-ming used transparent acrylic sheets as spatial supports and carriers for painting. He presented multiple states of white on the acrylic, with transparency signifying penetration. Using spatial installation techniques, he placed these works against walls, in corners, on diagonal walls, or leaning against walls to form shapes. The original essence of material white was detached from the wall, becoming a three-dimensional object-painting, attempting to express the material white hidden in everyday spatial environments. On one wall, an acrylic cylinder pierced through, constructing an architectural circular window and a field of vision for the soul, becoming a spatial installation work crossing time and space on the wall. Facing one end of the cylinder, viewers could see through to the second white wall, and walking to the other end, they could glimpse the space and works of the main exhibition hall. It reveals the process of direct perception, emphasizing that people, through different perspectives, pass through the barrier of thought, opening up the possibility of a vast sky and wide earth. Furthermore, it reminds viewers that perhaps they can also perceive the omnipresent material white.

Medium Symbols: After exploring different levels of "white," "white" was given new meaning. Through the medium conversion of "white," various objects of food, clothing, education, and entertainment in daily life were transformed. Thermometers and rulers were fixed on white pedestals; celadon bowls and plates overflowed with white substances; white shirts and radios were sealed in white gypsum blocks; computer keyboards became white; round mirrors were coated with white paint; the interior of black glasses cases was white; clocks with "white" interiors hung on walls; and a pure white mechanical clock without hands swung back and forth. White became a medium, a symbol reflecting a phenomenon.

In this relationship between object and self, Chen Shih-ming expounded: "Each independent exhibit represents a different aspect of life, but also concretely manifests the main meaning of 'Truth Revealed.' The essence and original form of the object are attached with external meaning and value, and their original purpose and use have been changed (...)" "Therefore, if one wishes to experience the inherent truth of all things, one must detach from世俗 conventions and values, and directly 'contemplate the object in the present moment.' Thus, the 'simultaneity of object and self' for the observer is very important, and this is also my motivation for arranging the computer keyboard and the hanging clock frame: the former represents the instantaneous speed and time of 'thought'; the latter is the timeless indicator of the 'present moment.' Only from the perspective of 'object and self simultaneous' can one平等 (equally) and directly contemplate the object, ignoring other external values and sensory effects, while also experiencing that the essence of all things has no hierarchy, but exists peacefully on its own, including the act of contemplation itself. So, the self observing the object is not higher than the object; the object being gazed at is not lower than the self. Both object and self are small molecules in the universe, insignificant travelers staying briefly in the totality of time" (Note 16).

Time is timeless, and all existing things are originally perfect.

Chen Shih-ming expounded: "For me, artistic creation is less about the expression and pursuit of formal creation, and more like a channel for solving thinking and questions. Problems I pondered over twenty years ago, regarding space, matter, nature, time, etc., are still the main axis of my creation today. Many original ideas explored the most basic and difficult issues. Walking this path, finally returning to oneself, facing the long-pondered relationship between object and self in a state of mind akin to practice, after detaching from self-emotion and the external value of outer objects, carefully considering the essence and original form of all things, and through artistic creation, presenting the complex, multi-layered answers obtained personally, forming a certain system of self-completion: one is a simple starting point but complex and profound artistic philosophy; the other is artistic creation with simple elements yet multi-layered" (Note 17).

Writing of Qi-Dong Xie-Xing (Form Generated by Vital Energy): At the 2000 Eslite Gallery solo exhibition Truth Revealed, from figurative to abstract, then from imagery to empty form, the exploration of painting context reached pure emptiness and cleanliness, spiritually aware, without thought or form. In the realization and growth of life, Chen Shih-ming realized the ultimate meaning of painting art. As the poet T.S. Eliot wrote: "The end of our exploring will be to arrive where we started and know the place for the first time" (Note 18). From then on, he bid farewell to painting. The following year, Chen Shih-ming moved to Danshui. With changes in the living environment, life entered another level. From stopping thoughts to gaze, delving into the consciousness of the heart, the core thought expanded from a Zen perspective to a worldview of the universal energy field. Changes in mindset gave rise to new contexts.

At the end of 2002, Chen Shih-ming was invited by the Taipei County Cultural Center to hold the "Qi-Dong Xie-Xing" calligraphy solo exhibition. As everyone knows, Teacher Chen had never written calligraphy before, nor had he paid special attention or research to calligraphy art. Clearly, the operation of the universe, life itself is a small universe energy field possessing all energy. Qi-Dong Xie-Xing is a spontaneous and instinctual response to the spiritual writing of the universe’s great power. Chen Shih-ming completed it in a super-conscious state close to mediumship, writing with black or red ink on full-size mulberry paper, presenting concrete linear symbols of calligraphy? (Temporarily called calligraphy depending on tools and forms). It differed greatly from traditional calligraphy, full of bodily kinetic energy, very abstract, with ideograms that people could not interpret, shrouded in thick mysticism. Chen Shih-ming said: "In the spring of 2002, one day I suddenly heard a voice telling me to write characters. As soon as I put pen to paper, an automatic writing energy exploded. Afterwards, I wrote approximately thirty sheets of mulberry paper per day on average, lasting for over a year. To this day, I can pick up the pen and write at any time. As for whether those symbols bursting from within received external cosmic information, or if it relates to religion, I do not understand. It is said that the universe is a holographic system. If a person wants to develop intuitive potential and expand energy waves, can they receive cosmic messages? Humans are the spirits of all things and should have so-called mediumship, although mediumship has levels, and the range of感应 (resonance) varies. What is lacking is probably the ability to interpret information." He continued: "From a formal perspective, the 2000 Truth Revealed was an introversion from existence to emptiness, while the 2002 Qi-Dong Xie-Xing was an extroversion from emptiness to existence. Mentally, one is contraction and the other expansion. Contraction means the empty realm has nothing; expansion means myriad phenomena appear. Looking back now, it seems to foreshadow my current life and creative direction" (Note 19).

Image of Comprehensive Exploration of Context: In today’s internet and digital image world, people are often surrounded by abundant and brilliant image information. In an era of consuming images with hardship, artistic creation has also taken a turn. Photography is the most common and convenient medium at present. Especially with the various possibilities of post-production using digital technology, images provide more thinking and feelings. Digital image art has become one of the current trends in creation. Unprecedented image construction creates richer and more diverse image contexts. Static is image; dynamic is video.

Photography has always been Chen Shih-ming’s observation and record of nature and the surrounding environment. Images were the source of his past creation. Observing life and capturing the fleeting glimpses of nature from the natural world, the camera became his tool for examining nature. He intended to find various elements of creative possibility and inspire thinking. Past photographic images were the basis for creative thinking and also the medium for creation. Now, digital images have become his artistic creation of "form and material composition in space."

By chance, in 2004, Teacher Chen Shih-ming traveled to Japan with friends. A friend gave him a small digital camera, thus connecting him with digital photography. This opened Chen Shih-ming’s new digital vision. Playing with it, he became fascinated by the digital camera. Convenient and practical, he got used to carrying it everywhere. Any place, any season, any subject, countryside or city, sky or ground, day or night, natural or cultural, he photographed what he saw, shot what he wanted to shoot,不拘形式不拘樣態 (unconstrained by form or state), casually shooting anywhere. Diary-like image records captured the mental state of every moment, yet he never thought of creating art with images. Thus, year after year, unknowingly accumulating tens of thousands of photos. After organizing and reviewing them, randomly combining and constructing, he discovered the profundity and magic of images, beginning to deeply explore the various possibilities of construction, such as subject, attribute, theme, form, color, light and shadow, state, and type, etc. Naturally, he quoted the thinking of "form and material composition in space." From over ten thousand images, he selected and combined a thousand as experiments, exploring form and form, color and color, light and shadow, and structure, etc., and attempted to find new formal possibilities by altering or reorganizing through computer post-processing. Of course, the difficulty of combining each picture with others became a challenge for photographic painting (Note 20). The artist said: "Art has no profound knowledge; it is right beside us" (Note 21). In today’s era of digital art, photography replaces painting and becomes painting (under the condition of painting). Chen Shih-ming’s "Comprehensive Exploration of Context" image series of myriad phenomena continues and opens up his consistent artistic vocabulary, expanding a new visual horizon and artistic breadth. Through multiple combinations and constructions, and image processing such as splicing, exposure, hue, saturation, brightness, and modification, in lyrical pieces like Water Connects to the Azure Sky, geometric ones like the square rhythm of light and circular waltzes, and rigorous architectural structures like Empty Alley, between figurative, imagery, and abstract, it presents a kaleidoscope-like image language of brilliance. The artist described the basic construction of this series as follows: "The chiaroscuro composition method, color plane composition method, symbol composition method, and perspective composition method I learned when studying painting in Spain in 1975. From the perspective of composition, geometric abstraction belongs to the color plane composition method. Form and color are one; forms include circles, triangles, squares; colors have the three basic elements of hue, saturation, and brightness. In production, I draw edges with rulers and apply flat colors, which seem rational and expressionless, but I do not look at them rationally but with spirituality. All colors, shapes, and textures are constructed together. The intuitive accuracy can achieve a sense of solemnity, which differs from the proportion and balance emphasized in Western geometric painting" (Note 22).

This series clearly proves Chen Shih-ming’s observation of his life art view, his contemplation of the Dao with a clear mind, and his thinking of tranquility and elegance in art. As he said: "The feedback of life—'Beauty.' The most beautiful thing in life is 'fearlessness.'" Everything is created by the mind. Realm is born of the heart; intent follows the realm. As the heart moves, the language changes. The context of the calm and quiet heart’s painting will be pure and empty. Life is an energy field and energy. Life is a field of learning and testing. Testing is a form of learning. The artist said: "Facing the various hardships of life, the mindset is without doubt, without worry, and without fear. The energy of fearlessness naturally bursts forth into a brilliant, solemn image context of myriad phenomena." "The presentation of art is like the contraction and expansion of thought. Contraction means the empty realm has nothing; expansion means myriad phenomena appear" (Note 23). Shuttle through Chen Shih-ming’s brilliant image paintings, interpreting his view of life and the universe: "Art is the ultimate meaning of life, the call of life's spiritual energy," tracing back to the root to investigate the meaning of existence.

Notes: Note 1: Art Performance and Ultimate Concern. Chen Shih-ming 1996 Eslite Solo Exhibition. Huang Hai-ming. Eslite Gallery. Published December 1996. Note 2: Liu Yong-ren, Chen Shih-ming - Exploring Context Interview Record. Artist Magazine, March 2012. Note 3: Fortunately Having Two Eyes, Ming-Guan-Yi. Chen Shih-ming. October 27, 2009. Speech at the Department of Fine Arts, National Taipei University of Education. Note 4: Taiwanese Middle Artists' Imagery - 5. Li Wei-ching. Artist Magazine Issue 321, February 2002. Note 5: Fortunately Having Two Eyes, Ming-Guan-Yi. Chen Shih-ming. October 27, 2009. Speech at the Department of Fine Arts, National Taipei University of Education. Note 6: Taiwanese Middle Artists' Imagery - 5. Li Wei-ching. Artist Magazine Issue 321, February 2002. Note 7: Taiwanese Middle Artists' Imagery - 5. Li Wei-ching. Artist Magazine Issue 321, February 2002. Note 8: Taiwanese Middle Artists' Imagery - 5. Li Wei-ching. Artist Magazine Issue 321, February 2002. Note 9: Empiricist Modern Zen. Interview with Lay Practitioner Li Yuan-song. Modern Zen Publishing House. Republic of China Year 79. Preface P7. Note 10: Chen Shih-ming - Practice and Transmission of "Stopping Thoughts to Gaze" Truth Revealed 2000. Note 11: Taiwanese Middle Artists' Imagery - 5. Li Wei-ching. Artist Magazine Issue 321, February 2002. Note 12: Exploring Context - Chen Shih-ming's Space of Myriad Phenomena Art Speech Manuscript. Note 13: Fortunately Having Two Eyes, Ming-Guan-Yi. Chen Shih-ming. October 27, 2009. Speech at the Department of Fine Arts, National Taipei University of Education. Note 14: Exploring Context - Chen Shih-ming's Space of Myriad Phenomena Art Speech Manuscript. Note 15: Chen Shih-ming - Truth Revealed "Practice of Stopping Thoughts to Gaze". Eslite Gallery. Published July 2000. Note 16: Ibid. Note 17: Ibid. Note 18: National Taiwan Museum of Fine Arts - Hsiao Chin’s Journey: 1953-1994. Meditation from Condensation and Dispersion to Emptiness - Hsiao Chin. Tracing the Style. Ye Weilian. p35. Note 19: Liu Yong-ren, Chen Shih-ming - Exploring Context Interview Record. Artist Magazine, March 2012. Note 20: Ibid. Note 21: Fortunately Having Two Eyes, Ming-Guan-Yi. Chen Shih-ming. October 27, 2009. Speech at the Department of Fine Arts, National Taipei University of Education. Note 22: Liu Yong-ren, Chen Shih-ming - Exploring Context Interview Record. Artist Magazine, March 2012. Note 23: Exploring Context - Chen Shih-ming's Space of Myriad Phenomena Art Speech Manuscript.

Appendix: Many quotes and sentences from Teacher Chen Shih-ming cited here are notes taken during private moments of receiving inspiration. This is hereby declared.

June 6, 2012, Paris