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Chang Ming Shen
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Inspired by Scripture Series
As the light changes, the grains of sand that outline the Heart Sutra, Diamond Sutra, and I Ching are revealed. It shifts with light and shadow, appearing then disappearing, representing the hidden wisdom of the East. The upper layer adopts the Western art style of weaving language in painting, combined with his unique raindrop painting technique to craft the transparent glaze.
The work showcases the cultural essence of both East and West, combining yin and yang and quantum mechanics. The series reflects the profound intelligence seen in the ordinary and the infinite cosmic meaning within both the finite and the symbolic.
Dao No. 1｜2021
In Dao No. 1, Chang Ming Shen uses his original raindrop painting technique to create pointillist and linear particles. Through flat spray and direct spray brushstrokes, he constructs a visual scene where particles intersect and flow. These particles evoke the presence and movement of quantum particles, manifesting as a cosmic information field. At the same time, the raindrop painting technique expresses a dialogue between the mind and the universe's myriad beings.
The creation of the universe expands from the extreme to the infinite. The blue and red elliptical energy fields spiral around a central sphere, resembling the yin-yang fusion. This represents continuously rotating and evolving cosmic forces. Using sand carving, the Heart Sutra is subtly concealed—flowing with light and shadow like something hidden yet present—offering people a dual sensory and emotional experience.
The creation of the universe expands from the extreme to the infinite. The blue and red elliptical energy fields spiral around a central sphere, resembling the yin-yang fusion. This represents continuously rotating and evolving cosmic forces. Using sand carving, the Heart Sutra is subtly concealed—flowing with light and shadow like something hidden yet present—offering people a dual sensory and emotional experience.
Dao No. 2｜2021
Dao No. 2 is like a fortress of energy density, reflecting the myriad forms of humanity and the countless phenomena of the world: three vertically aligned spheres symbolizing the triad of Heaven, Earth, and humanity, flanked on either side by color bands that resemble the pulsating energy waves of the cosmos. Together, they form a continuous, circulating cosmic flame. Lao Ba’s wisdom expands the idea of "one life giving rise to two, two to three, and three to myriad creatures" into the Yijing system: from yin and yang to the eight trigrams, then the 64 hexagrams, and ultimately the 384 lines, perfectly capturing the diverse facets of humanity and the endless phenomena of the universe.
The bottom layer of the painting is entirely engraved with the full text of the Heart Sutra, embedding the scripture within the artwork. This creates an invisible realm of wisdom, symbolically inviting people into it through space, time, and interpersonal interactions, as they continuously learn to observe, respond, and find balance. This also embodies the profound wisdom of the Heart Sutra reflected in the principles of “form is empty, emptiness is form” and “color is no different from emptiness; emptiness is no different from color.” When light and shadow pass over the painting, the scripture emerges hidden within the refractions of light, referencing the clarity of human consciousness and revealing the radiant wisdom underlying everything.
The bottom layer of the painting is entirely engraved with the full text of the Heart Sutra, embedding the scripture within the artwork. This creates an invisible realm of wisdom, symbolically inviting people into it through space, time, and interpersonal interactions, as they continuously learn to observe, respond, and find balance. This also embodies the profound wisdom of the Heart Sutra reflected in the principles of “form is empty, emptiness is form” and “color is no different from emptiness; emptiness is no different from color.” When light and shadow pass over the painting, the scripture emerges hidden within the refractions of light, referencing the clarity of human consciousness and revealing the radiant wisdom underlying everything.
The Diamond Sutra Four Verses | 2021
“Everything has a reason to be, like a dream, an illusion, a bubble, a shadow, like dew or a flash of lightning; it should be observed as such.” Hidden beneath the text is a layered composition, with each raindrop stacked upon the other, gradually revealing a mountain-ringed scene. It’s both mountain and cloud at once, with the red sun, golden light, and drifting white clouds in between, subtly embodying the deepening and blooming understanding of life and the world—moving gradually from simplicity to complexity then back to purity. Our understanding of life evolves—from direct experience to questioning and finally to enlightened clarity.
The Diamond Sutra Four Verses ｜2023
The lotus flower symbolizes a free and unrestrained heart, coming and going naturally without constraints; the rock, on the other hand, represents the true essence—no matter how the lotus morphs and changes endlessly, it still remains unmoved at its core. In the picture, the three suns rising from the east, reaching their zenith at noon, and setting in the west illustrate the cycle of the day and the forward push of time; they also symbolize the coexistence of past, present, and future within the same moment. This moment is power itself—if today's self has already transformed, then the interpretations of the past and directions of the future have naturally shifted into a different parallel universe.
The artwork hides the text "Being Born Without a Place to Belong" beneath the surface. Using the raindrop painting technique layer by layer, it weaves between motion and stillness, change and constancy. It breaks down many perceptions and makes us realize the existence of diverse viewpoints. It also helps different people become healthier, more aware, and thus live more freely.
The artwork hides the text "Being Born Without a Place to Belong" beneath the surface. Using the raindrop painting technique layer by layer, it weaves between motion and stillness, change and constancy. It breaks down many perceptions and makes us realize the existence of diverse viewpoints. It also helps different people become healthier, more aware, and thus live more freely.
Heaven in Motion | 2023
The term “Qian Guan” in the I Ching symbolizes the driving force of the sun, while Kui Guan is like a mother embracing countless creatures—the fusion of yin and yang, the power to transform and give birth to all living things.
Three orange-red circles lined up horizontally in the sky, both a trail of the sun’s path and resembling the sun and moon in rotation, embodying the rhythm of time and the play of light and shadow.
The sutra says, “Everything has its reason, like a dream, an illusion, a bubble, a shadow; like dew or a flash of lightning; thus should you perceive it.” Hidden beneath layers of color, it only appears under specific wavelengths of light, reminding us that all phenomena in the world exist in a state of constant flux and transformation. Quietly, it enlightens life’s wisdom, helping one grasp this truth.
Three orange-red circles lined up horizontally in the sky, both a trail of the sun’s path and resembling the sun and moon in rotation, embodying the rhythm of time and the play of light and shadow.
The sutra says, “Everything has its reason, like a dream, an illusion, a bubble, a shadow; like dew or a flash of lightning; thus should you perceive it.” Hidden beneath layers of color, it only appears under specific wavelengths of light, reminding us that all phenomena in the world exist in a state of constant flux and transformation. Quietly, it enlightens life’s wisdom, helping one grasp this truth.
Heart Without Hindrance | 2023
A flowing white stripe cuts through layers of color like a pulse, revealing the cosmic rhythm of the universe. The image features three vertical rows of circles varying in size, rich with symbolism, representing Heaven, Earth, and humanity. It also depicts the intimate connection between the sun, the Earth, and the moon, hinting at the intertwined truths of "one life and two, two lives and three, three lives and all beings"—the universal interconnectedness of all things.
At the base of the work, four small characters, which translate to "heart without blemish,” are concealed, appearing and disappearing amidst the light and shadows. The red circle is stretched in perspective, both deep and translucent, symbolizing the vast universe that spans billions of light-years. It references people quietly observing their inner hearts, revealing clear rays of light that emerge from the depths of the soul.
At the base of the work, four small characters, which translate to "heart without blemish,” are concealed, appearing and disappearing amidst the light and shadows. The red circle is stretched in perspective, both deep and translucent, symbolizing the vast universe that spans billions of light-years. It references people quietly observing their inner hearts, revealing clear rays of light that emerge from the depths of the soul.
Color and Emptiness｜2025
Color and Emptiness draws its inspiration from the core philosophy of the Heart Sutra—“Form is emptiness; emptiness is form”—incorporating the four Buddhist elements of Earth, Water, Fire, and Wind as facets of emptiness. The entire artwork is composed of over thirty layers of sprayed and layered paint. Embedded within the composition is the complete text of the Heart Sutra, its characters subtly concealed among the colors and layers, revealed through the interplay of light and shadow, reminiscent of the dynamic exchange between form and emptiness.
Creating this work was akin to entering a profound meditation. Each spray’s intensity, angle, and placement arose spontaneously, reflecting the Buddhist principles of going with the flow and freedom. The image depicts the vitality of Mother Earth and evokes the ever-expanding Tree of Life, seemingly glowing as it emerges from a void.
Color and Emptiness interweaves matter and void, manifestation and concealment, life and extinction, as if simultaneously preserving the serenity of scripture, the pulse of Heaven and Earth, and the beauty of color and light.
Creating this work was akin to entering a profound meditation. Each spray’s intensity, angle, and placement arose spontaneously, reflecting the Buddhist principles of going with the flow and freedom. The image depicts the vitality of Mother Earth and evokes the ever-expanding Tree of Life, seemingly glowing as it emerges from a void.
Color and Emptiness interweaves matter and void, manifestation and concealment, life and extinction, as if simultaneously preserving the serenity of scripture, the pulse of Heaven and Earth, and the beauty of color and light.
Be Like Water | 2025
Be Like Water takes its meaning from Chapter 8 of the Tao Te Ching. Water may be gentle and flowing, yet it can carve through stone and create hollows; it adapts to any shape, yet it always maintains its essence of movement. Its virtue lies in nourishing everything while never competing or seeking credit.
The painting reveals fine details beneath rough strokes; at first glance, it looks like a flamboyant explosion, but a closer look shows delicate, flowing lines intertwined with the natural textures of the body. Water trickles down the mountainsides, turning into rivers, then evaporates into mist and clouds, and ultimately returns to the ocean—symbolizing the endless cycle of interaction and mutual support between Heaven and Earth.
The flow of water also symbolizes the unity of all living things. Every drop of water is like an ocean; every patch of clouds and mist is like an ocean; even the rushing streams between the mountains are oceans in their own right. This portrayal invites viewers to feel the gentle strength and power of life as it moves with the flow of water, highlighting the silent wisdom inherent in it.
The painting reveals fine details beneath rough strokes; at first glance, it looks like a flamboyant explosion, but a closer look shows delicate, flowing lines intertwined with the natural textures of the body. Water trickles down the mountainsides, turning into rivers, then evaporates into mist and clouds, and ultimately returns to the ocean—symbolizing the endless cycle of interaction and mutual support between Heaven and Earth.
The flow of water also symbolizes the unity of all living things. Every drop of water is like an ocean; every patch of clouds and mist is like an ocean; even the rushing streams between the mountains are oceans in their own right. This portrayal invites viewers to feel the gentle strength and power of life as it moves with the flow of water, highlighting the silent wisdom inherent in it.
Reverence & Compassion｜2025
The three perfectly round spheres of Respect for Heaven and Love for People are arranged from top to bottom, presenting a sharp vertical line. The topmost sun radiates a powerful glow in red and gold, symbolizing reverence for Heaven and Earth and the heartfelt spirit of “Respect for Heaven and Love for People,” while also pointing to the source of growth for all living things.
Below, layers upon layers of green, purple, and blue details intertwine, sculpting the landscape where land meets ocean. The interplay of light and color breathes life under the sun's gaze, revealing a vibrant energy climbing upward like a living, thriving force. Even when viewed upside down, the structure of Heaven and Earth remains steady, reflecting the balance achieved between sky and land.
Between intensity and gentleness, the macro and the micro, the individual and the group, as well as between giving and receiving, they continuously adjust, mutually influencing each other and achieving dynamic equilibrium.
On the base layer of paint is written “Respect Heaven, Love People”—a reminder to maintain harmony in the midst of chaos and foster mutual growth through compassion and action so that all things thrive and achieve completeness together.
Below, layers upon layers of green, purple, and blue details intertwine, sculpting the landscape where land meets ocean. The interplay of light and color breathes life under the sun's gaze, revealing a vibrant energy climbing upward like a living, thriving force. Even when viewed upside down, the structure of Heaven and Earth remains steady, reflecting the balance achieved between sky and land.
Between intensity and gentleness, the macro and the micro, the individual and the group, as well as between giving and receiving, they continuously adjust, mutually influencing each other and achieving dynamic equilibrium.
On the base layer of paint is written “Respect Heaven, Love People”—a reminder to maintain harmony in the midst of chaos and foster mutual growth through compassion and action so that all things thrive and achieve completeness together.
2025《獨行》
《獨行》體現了量子力學與禪宗哲思的交會，融合了「疊加態」與「應無所住而生其心」的智慧。以細沙為媒材，象徵宇宙最基本的能量單位—「粒子」，同時也是《金剛經》中「微塵眾」的現代詮釋。
畫面由兩層結構組成：底層以浮雕手法刻寫《金剛經》四句偈「應無所住而生其心」，這些文字潛藏於畫布之內，平時難以察覺； 表層則描繪了一位身披紅衣的僧人獨自行走，背景彷彿宇宙洪荒，散落的粒了營造出漂浮的氛圍。
當觀者移動視角，底層的經文會隨光線與角度變化若隱若現，如同量子疊加態中未被觀測時的不確定性—當你凝視僧人時，經文或許隱藏；當你轉換角度，文字才緩緩浮現。這種動態觀賞體驗，映射了佛學與量子物理的共同命題—「觀測改變實相」，及「無住」的覺性。
《獨行》不只是靜態的畫作，而是一場關於觀察者與被觀察者的對話，一場在科學與禪意之間流動的沉思。
Lone Walker embodies the intersection of quantum mechanics and Zen philosophy, merging the concept of "superposition" with the wisdom of "arising a mind that does not abide in anything." Utilizing fine sand as a medium, the work symbolizes the fundamental energy units of the universe—the "particles"—serving as a modern interpretation of the "multitudes of dust motes" described in the Diamond Sutra.
The composition is structured in two layers: the base layer features the four-line verse from the Diamond Sutra—"Arise a mind that does not abide in anything"—rendered in intaglio-relief. These characters are embedded within the canvas, remaining subtle and elusive to the casual observer. The surface layer depicts a solitary monk cloaked in crimson, walking through a primordial cosmic expanse, where scattered particles create an ethereal sense of suspension.
As the viewer shifts their perspective, the scriptures beneath flicker in and out of sight, mirroring the uncertainty of the quantum superposition state before observation. When you focus on the monk, the text may recede; when you change your angle, the characters slowly emerge. This dynamic viewing experience maps onto the shared proposition of Buddhism and quantum physics: that "observation alters reality," and reflects the enlightened state of "non-abiding."
Lone Walker is more than a static painting; it is a dialogue between the observer and the observed, a meditation flowing between the realms of science and Zen.
畫面由兩層結構組成：底層以浮雕手法刻寫《金剛經》四句偈「應無所住而生其心」，這些文字潛藏於畫布之內，平時難以察覺； 表層則描繪了一位身披紅衣的僧人獨自行走，背景彷彿宇宙洪荒，散落的粒了營造出漂浮的氛圍。
當觀者移動視角，底層的經文會隨光線與角度變化若隱若現，如同量子疊加態中未被觀測時的不確定性—當你凝視僧人時，經文或許隱藏；當你轉換角度，文字才緩緩浮現。這種動態觀賞體驗，映射了佛學與量子物理的共同命題—「觀測改變實相」，及「無住」的覺性。
《獨行》不只是靜態的畫作，而是一場關於觀察者與被觀察者的對話，一場在科學與禪意之間流動的沉思。
Lone Walker embodies the intersection of quantum mechanics and Zen philosophy, merging the concept of "superposition" with the wisdom of "arising a mind that does not abide in anything." Utilizing fine sand as a medium, the work symbolizes the fundamental energy units of the universe—the "particles"—serving as a modern interpretation of the "multitudes of dust motes" described in the Diamond Sutra.
The composition is structured in two layers: the base layer features the four-line verse from the Diamond Sutra—"Arise a mind that does not abide in anything"—rendered in intaglio-relief. These characters are embedded within the canvas, remaining subtle and elusive to the casual observer. The surface layer depicts a solitary monk cloaked in crimson, walking through a primordial cosmic expanse, where scattered particles create an ethereal sense of suspension.
As the viewer shifts their perspective, the scriptures beneath flicker in and out of sight, mirroring the uncertainty of the quantum superposition state before observation. When you focus on the monk, the text may recede; when you change your angle, the characters slowly emerge. This dynamic viewing experience maps onto the shared proposition of Buddhism and quantum physics: that "observation alters reality," and reflects the enlightened state of "non-abiding."
Lone Walker is more than a static painting; it is a dialogue between the observer and the observed, a meditation flowing between the realms of science and Zen.
2025《心經 · 自在觀音》
畫面中的佛像以深粉紅的色調構築，傳遞出溫暖而超脫的氛圍，而260字的《心經》經文覆蓋於畫布之上，形成一種視覺與哲理的共振。畫作整體以細膩的砂粒和重疊的筆觸呈現出微塵般的視覺效果，象徵萬物因緣和合而成、因緣盡而滅的循環之道。
The Buddha in this composition is rendered in deep shades of pink, radiating a warmth that transcends the mundane. The full 260 characters of The Heart Sutra are layered across the canvas, creating a profound resonance between visual form and philosophical truth. Through the meticulous application of fine sand and overlapping brushstrokes, the work achieves a visual texture reminiscent of "dust motes," symbolizing the cycle of existence—where all things arise from the coming together of causes and conditions, and vanish when those conditions disperse.
The Buddha in this composition is rendered in deep shades of pink, radiating a warmth that transcends the mundane. The full 260 characters of The Heart Sutra are layered across the canvas, creating a profound resonance between visual form and philosophical truth. Through the meticulous application of fine sand and overlapping brushstrokes, the work achieves a visual texture reminiscent of "dust motes," symbolizing the cycle of existence—where all things arise from the coming together of causes and conditions, and vanish when those conditions disperse.
2026《心經 · 量子佛境》
這件作品，是沈昌明「量子當代藝術」中極具代表性的創作形式：以《心經》文字作為底層結構，再疊加佛像繪畫於其上，形成如量子疊加般的視覺狀態。觀者在不同距離與光線之下，會同時感受到文字與佛像彼此穿透、融合、顯現與隱沒。作品因此
不只是「看見佛」，更是一種觀看「空性」的過程。
底層的《心經》全文，以密集而重複的方式鋪陳於畫面之中，宛如宇宙中的基本粒子。藝術家以砂粒、飛灑顏料與陰刻般的文字肌理，使經文不再
只是可閱讀的語言，而成為能量振動的痕跡。當觀者靠近時，可以辨識出「色即是空，空即是色」等經句；退遠觀看時，文字又逐漸消融，重新聚合成佛陀莊嚴靜定的形象。
這種由局部到整體、由文字到形象的轉化，正呼應量子力學中的「波粒二象性」—微觀時是粒子，宏觀時又成為波動與整體。藝術家將佛經中的「緣起性空」與量子世界的不確定性互相對照，讓畫面呈現出一種既存在又虛空、既凝聚又流動的狀態。
畫面中央的佛像沉靜端坐，如宇宙中心不動的覺性。金黃色的佛光，從頭部向四周擴散，像能量場一般與背景文字相互滲透。佛像本身並非厚重實體，而是由無數細小色點與微塵構成，彷彿提醒著觀者：所謂形體，其實也是短暫聚合的能量顯現。
作品下方加入蓮花與玄奘西行的意象，更深化了《心經》的精神內涵。蓮花象徵清淨覺悟；玄奘則代表人類對真理與智慧的追尋。他行走於塵世，而佛安住於空性之中，形成「修行」與「覺悟」、「行」與「定」之間的深層對話。
沈昌明長期將佛學、量子力學與當代藝術融合。他認為，《心經》所說的「空」並非虚無，而是一切萬物彼此關聯、流動生成的狀態；而量子世界中的疊加、糾纏與能量振動，也正提供了另一種理解宇宙的方式。因此，這件作品並不只是宗教圖像，而
是一種關於生命本質的視覺哲學。
當觀者凝視畫面時，其實也正在進入自己的內心。那些漂浮的微塵、若隱若現的經 文，以及佛像靜默的神情，共同形成一個介於現實與虚空之間的精神場域，使人在觀看之中，重新體會《心經》所說：「照見五蘊皆空，度一切苦厄。」
This work serves as a quintessential example of Shen Chang-ming’s "Quantum Contemporary Art." By utilizing the full text of The Heart Sutra as a structural foundation and layering a portrait of the Buddha upon it, the artist constructs a visual state analogous to quantum superposition. From varying distances and angles of light, the viewer perceives the scriptures and the Buddha image as phenomena that interpenetrate, merge, emerge, and dissolve. Thus, the work is not merely an act of "seeing the Buddha," but a process of witnessing "Emptiness" itself.
The base layer of the full Heart Sutra is densely and repetitively inscribed across the canvas, functioning like the fundamental particles of the universe. Through the use of sand, splattered pigments, and intaglio-like textural depth, the scriptures are transformed from readable language into traces of energetic vibration. Up close, one can decipher phrases such as "Form is emptiness, emptiness is form"; yet, from a distance, these characters dissolve and coalesce into the serene, majestic visage of the Buddha.
This transformation from the local to the holistic—from text to image—mirrors the "wave-particle duality" in quantum mechanics: microscopic particles manifesting as macroscopic waves. The artist juxtaposes the Buddhist concept of "dependent origination and the nature of emptiness" with the inherent uncertainty of the quantum world, resulting in a composition that is simultaneously existent and void, condensed and fluid.
At the center of the canvas, the Buddha sits in stillness, representing the immutable awareness at the heart of the cosmos. Golden light radiates from the Buddha’s form, permeating the background text like a living energy field. The Buddha is not portrayed as a dense, static entity, but as a construct of countless tiny colored dots and motes of dust—a poignant reminder that form is merely a temporary aggregation of energy.
The inclusion of lotus flowers and imagery of Xuanzang’s pilgrimage at the bottom deepens the spiritual resonance of The Heart Sutra. The lotus symbolizes pure enlightenment, while Xuanzang embodies the human quest for truth and wisdom. As Xuanzang traverses the earthly realm while the Buddha dwells in Emptiness, the composition fosters a profound dialogue between "practice" and "enlightenment," between "action" and "stillness."
Shen Chang-ming has long dedicated his practice to synthesizing Buddhism, quantum mechanics, and contemporary art. He posits that the "Emptiness" defined in The Heart Sutra is not nihility, but a state of dynamic flow and interdependent generation. Similarly, the concepts of superposition, entanglement, and energetic vibration in the quantum world provide a new lens through which to understand the universe. Consequently, this work transcends the boundaries of religious iconography, emerging as a visual philosophy regarding the essence of life.
As one gazes into the canvas, one is effectively looking inward. The floating dust, the flickering scriptures, and the silent expression of the Buddha coalesce into a spiritual field suspended between reality and void—inviting the viewer to rediscover the clarity of the Sutra’s promise: "Illuminated the five aggregates as empty, and transcended all suffering.
不只是「看見佛」，更是一種觀看「空性」的過程。
底層的《心經》全文，以密集而重複的方式鋪陳於畫面之中，宛如宇宙中的基本粒子。藝術家以砂粒、飛灑顏料與陰刻般的文字肌理，使經文不再
只是可閱讀的語言，而成為能量振動的痕跡。當觀者靠近時，可以辨識出「色即是空，空即是色」等經句；退遠觀看時，文字又逐漸消融，重新聚合成佛陀莊嚴靜定的形象。
這種由局部到整體、由文字到形象的轉化，正呼應量子力學中的「波粒二象性」—微觀時是粒子，宏觀時又成為波動與整體。藝術家將佛經中的「緣起性空」與量子世界的不確定性互相對照，讓畫面呈現出一種既存在又虛空、既凝聚又流動的狀態。
畫面中央的佛像沉靜端坐，如宇宙中心不動的覺性。金黃色的佛光，從頭部向四周擴散，像能量場一般與背景文字相互滲透。佛像本身並非厚重實體，而是由無數細小色點與微塵構成，彷彿提醒著觀者：所謂形體，其實也是短暫聚合的能量顯現。
作品下方加入蓮花與玄奘西行的意象，更深化了《心經》的精神內涵。蓮花象徵清淨覺悟；玄奘則代表人類對真理與智慧的追尋。他行走於塵世，而佛安住於空性之中，形成「修行」與「覺悟」、「行」與「定」之間的深層對話。
沈昌明長期將佛學、量子力學與當代藝術融合。他認為，《心經》所說的「空」並非虚無，而是一切萬物彼此關聯、流動生成的狀態；而量子世界中的疊加、糾纏與能量振動，也正提供了另一種理解宇宙的方式。因此，這件作品並不只是宗教圖像，而
是一種關於生命本質的視覺哲學。
當觀者凝視畫面時，其實也正在進入自己的內心。那些漂浮的微塵、若隱若現的經 文，以及佛像靜默的神情，共同形成一個介於現實與虚空之間的精神場域，使人在觀看之中，重新體會《心經》所說：「照見五蘊皆空，度一切苦厄。」
This work serves as a quintessential example of Shen Chang-ming’s "Quantum Contemporary Art." By utilizing the full text of The Heart Sutra as a structural foundation and layering a portrait of the Buddha upon it, the artist constructs a visual state analogous to quantum superposition. From varying distances and angles of light, the viewer perceives the scriptures and the Buddha image as phenomena that interpenetrate, merge, emerge, and dissolve. Thus, the work is not merely an act of "seeing the Buddha," but a process of witnessing "Emptiness" itself.
The base layer of the full Heart Sutra is densely and repetitively inscribed across the canvas, functioning like the fundamental particles of the universe. Through the use of sand, splattered pigments, and intaglio-like textural depth, the scriptures are transformed from readable language into traces of energetic vibration. Up close, one can decipher phrases such as "Form is emptiness, emptiness is form"; yet, from a distance, these characters dissolve and coalesce into the serene, majestic visage of the Buddha.
This transformation from the local to the holistic—from text to image—mirrors the "wave-particle duality" in quantum mechanics: microscopic particles manifesting as macroscopic waves. The artist juxtaposes the Buddhist concept of "dependent origination and the nature of emptiness" with the inherent uncertainty of the quantum world, resulting in a composition that is simultaneously existent and void, condensed and fluid.
At the center of the canvas, the Buddha sits in stillness, representing the immutable awareness at the heart of the cosmos. Golden light radiates from the Buddha’s form, permeating the background text like a living energy field. The Buddha is not portrayed as a dense, static entity, but as a construct of countless tiny colored dots and motes of dust—a poignant reminder that form is merely a temporary aggregation of energy.
The inclusion of lotus flowers and imagery of Xuanzang’s pilgrimage at the bottom deepens the spiritual resonance of The Heart Sutra. The lotus symbolizes pure enlightenment, while Xuanzang embodies the human quest for truth and wisdom. As Xuanzang traverses the earthly realm while the Buddha dwells in Emptiness, the composition fosters a profound dialogue between "practice" and "enlightenment," between "action" and "stillness."
Shen Chang-ming has long dedicated his practice to synthesizing Buddhism, quantum mechanics, and contemporary art. He posits that the "Emptiness" defined in The Heart Sutra is not nihility, but a state of dynamic flow and interdependent generation. Similarly, the concepts of superposition, entanglement, and energetic vibration in the quantum world provide a new lens through which to understand the universe. Consequently, this work transcends the boundaries of religious iconography, emerging as a visual philosophy regarding the essence of life.
As one gazes into the canvas, one is effectively looking inward. The floating dust, the flickering scriptures, and the silent expression of the Buddha coalesce into a spiritual field suspended between reality and void—inviting the viewer to rediscover the clarity of the Sutra’s promise: "Illuminated the five aggregates as empty, and transcended all suffering.
2026《緣起性空 · 心經》
Dependent Origination and Emptiness，2026，227 x 162 cm
2026《上善若水 · 厚德載物》
作品以砂粒為底，在畫布深層塑造「上善若水、厚德載物」八字，形成若隱若現的凹凸肌理；表層則以遠山、瀑布與溪流層層疊加，使文字與山水彼此交融，形成一種既可見、又不可盡見的視覺狀態。
「上善若水」出自《道德經》。水滋養萬物而不爭，總是往低處流，卻能穿石、成川 、匯聚江海。它看似柔弱，實則蘊藏最持久的力量。「厚德載物」則源自《易經》坤卦：「地勢坤，君子以厚德載物。」大地沉默而寬厚，承載萬物，不分彼此。
畫面中的高山如「德」，沉穩厚實；瀑布與溪水如「善」，順勢而行。水從高處落下，穿越山石，最終匯聚於低處，正如人生——真正的力量不一定來自爭勝，而可能來自謙卑、包容與持續前行。
砂粒象徵大地，也如宇宙中的微塵；文字藏於砂粒之中，山水又覆於文字之上。經典、自然與繪畫彼此疊加，讓「上善若水」與「厚德載物」不只是文字，而成為可以觀看、感受與體悟的生命風景。
水因不爭而無所不至，地因厚德而無所不載。
願人在山水之間，也能找到一份柔軟而堅定、謙遜而寬廣的生命力量。
With sand as its foundational substrate, the artwork molds eight Chinese characters—*“Shang Shan Ruo Shui, Hou De Zai Wu”* (Highest Virtue is Like Water; Great Virtue Carries All Things)—into the deep layers of the canvas, creating a subtle, low-relief texture that hovers between visibility and illusion. The surface layers are built through shifting gradations of distant mountains, cascading waterfalls, and flowing streams, allowing text and landscape to intertwine into a visual state that is simultaneously present yet never fully revealed.
“Highest virtue is like water” originates from the *Daodejing*. Water nourishes all things without striving; it constantly flows toward the lowest places, yet possesses the power to carve through stone, forge rivers, and gather into boundless seas. Seemingly soft and fragile, it holds the most enduring strength. “Great virtue carries all things” stems from the *Kun* (Earth) hexagram of the *I Ching*: “The earth's capacity is vast and receptive; thus the noble person, through ample virtue, sustains all existence.” The earth remains silent and broad-minded, bearing all things without distinction.
In this composition, the lofty mountains embody “Virtue”—steadfast and profound—while the waterfalls and streams represent “Goodness”—moving in harmony with natural momentum. As water descends from the heights, navigating through mountain rocks to gather in the valleys below, it mirrors the human journey: true strength does not necessarily arise from contention, but from humility, tolerance, and quiet perseverance.
Grains of sand symbolize the earth as well as the microscopic dust of the universe. Ancient text is embedded within the sand, while natural scenery is layered above the text. Classics, nature, and the painterly medium stack upon one another, transforming these timeless concepts from mere words into a living landscape to be observed, felt, and pondered.
*Water reaches everywhere because it does not compete; the Earth sustains everything through its infinite breadth of virtue.*
May we, standing amidst these mountains and waters, discover our own sense of resilient grace, humble wisdom, and expansive inner peace.
「上善若水」出自《道德經》。水滋養萬物而不爭，總是往低處流，卻能穿石、成川 、匯聚江海。它看似柔弱，實則蘊藏最持久的力量。「厚德載物」則源自《易經》坤卦：「地勢坤，君子以厚德載物。」大地沉默而寬厚，承載萬物，不分彼此。
畫面中的高山如「德」，沉穩厚實；瀑布與溪水如「善」，順勢而行。水從高處落下，穿越山石，最終匯聚於低處，正如人生——真正的力量不一定來自爭勝，而可能來自謙卑、包容與持續前行。
砂粒象徵大地，也如宇宙中的微塵；文字藏於砂粒之中，山水又覆於文字之上。經典、自然與繪畫彼此疊加，讓「上善若水」與「厚德載物」不只是文字，而成為可以觀看、感受與體悟的生命風景。
水因不爭而無所不至，地因厚德而無所不載。
願人在山水之間，也能找到一份柔軟而堅定、謙遜而寬廣的生命力量。
With sand as its foundational substrate, the artwork molds eight Chinese characters—*“Shang Shan Ruo Shui, Hou De Zai Wu”* (Highest Virtue is Like Water; Great Virtue Carries All Things)—into the deep layers of the canvas, creating a subtle, low-relief texture that hovers between visibility and illusion. The surface layers are built through shifting gradations of distant mountains, cascading waterfalls, and flowing streams, allowing text and landscape to intertwine into a visual state that is simultaneously present yet never fully revealed.
“Highest virtue is like water” originates from the *Daodejing*. Water nourishes all things without striving; it constantly flows toward the lowest places, yet possesses the power to carve through stone, forge rivers, and gather into boundless seas. Seemingly soft and fragile, it holds the most enduring strength. “Great virtue carries all things” stems from the *Kun* (Earth) hexagram of the *I Ching*: “The earth's capacity is vast and receptive; thus the noble person, through ample virtue, sustains all existence.” The earth remains silent and broad-minded, bearing all things without distinction.
In this composition, the lofty mountains embody “Virtue”—steadfast and profound—while the waterfalls and streams represent “Goodness”—moving in harmony with natural momentum. As water descends from the heights, navigating through mountain rocks to gather in the valleys below, it mirrors the human journey: true strength does not necessarily arise from contention, but from humility, tolerance, and quiet perseverance.
Grains of sand symbolize the earth as well as the microscopic dust of the universe. Ancient text is embedded within the sand, while natural scenery is layered above the text. Classics, nature, and the painterly medium stack upon one another, transforming these timeless concepts from mere words into a living landscape to be observed, felt, and pondered.
*Water reaches everywhere because it does not compete; the Earth sustains everything through its infinite breadth of virtue.*
May we, standing amidst these mountains and waters, discover our own sense of resilient grace, humble wisdom, and expansive inner peace.
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