Forty years of brush and ink practice, where the mind wanders with forms, and imagery arises from the heart.
As a practitioner deeply engaged in Chinese painting for over four decades, I profoundly feel the tension between traditional conventions and the expression of inner nature. Senxiangism is the artistic answer I found between breaking and establishing—it does not seek formal resemblance but pursues spiritual encounter; it does not rigidly adhere to ancient methods but transforms the past for contemporary use.
This creative philosophy emphasizes "transcending technique to embrace truth" in the creative process, moving beyond mere technical pursuit to enter a state of unity with the Dao. Senxiangism works are the direct manifestation of this philosophy.
1. Breaking Conventions to Establish the Heart: From Brush and Ink Conventions to the Flow of Inner Nature
Chinese painting has always valued the pursuit of the "Dao." Daoist thought holds that "the highest realm of the Dao is naturalness." Senxiangism is precisely a contemporary response to this idea—it demands that the creator transcend the constraints of technique to achieve a creative state where unintentional action yields excellence.
My creative process: crumpling, wrinkling, spreading water, outlining, texturing, rubbing, applying heavy colors... These techniques are not the goal but mediums for expressing inner nature. Just as Laozi comprehended the Dao through "forms" like water, tops, plants, and trees, Senxiangism uses the imagery of brush and ink to reach the authenticity of art.
2. Originality as Dao: The Spirit of Materials and the Flow of Thought
Senxiangism insists on the original, ecological use of Chinese painting materials: the breathability of Xuan paper, the penetrating power of ink, the mineral texture of pigments—these are not objects to be conquered but equal partners in dialogue during creation.
In this creative process, a relationship of dialogue between heaven and humanity is established between the painter and the materials. The brush moves across the paper like wind through treetops—unintentional yet deliberate, non-action yet great action. This is the concrete embodiment of "the Dao models itself on nature" in painting.
3. Flow State as Realm: Senxiang Practice Where Creation is Mind Cultivation
The creative state of Senxiangism is a flow experience of being present in the moment. In this state, the painter is no longer himself; only a spirit exists, a consciousness without traces of self.
This state resonates with the Zen saying, "When chopping wood, think of chopping wood; when carrying water, think of carrying water." The creative process itself becomes the purpose; brush and ink are no longer tools for depicting external objects but the immediate presentation of inner nature in the present moment.
4. Senxiang as Mind Imagery: Unintentional Intention is the Ultimate Meaning
Senxiangism pursues an aesthetics of chaos where "birds, insects, trees, and forests are not intentional yet are mindful." This aesthetic concept stems from the "non-action" philosophy of Lao-Zhuang and aligns with the aesthetic ideal in Chinese painting theory that "when meaning is sufficient, one does not seek resemblance in color."
The appeal of Bada Shanren Zhu Da's paintings lies not in formal likeness but in the genuine temperament revealed through his brush and ink. Senxiangism inherits this tradition, believing that the value of a painting lies in its spiritual worth, which requires the painter's inner cultivation and comprehension of the Dao.
5. Transcending Technique to Embrace Truth: The Artistic Pursuit of Senxiangism
Within the framework of Senxiangism, "transcending technique" does not negate skill but surpasses its limitations; "embracing truth" is understanding the unity of art and the essence of life. As Wang Yangming said, "The Dao is the substance of technique; technique is the function of the Dao."
Senxiangism views the creative process as a journey of mind cultivation. Each work is a fossil of time, recording the resonant frequency between the heartbeat of the moment and the brush and ink. The viewer does not see the mountain but feels its soul; does not see the water but hears its spirit. This is the artistic realm Senxiangism seeks.
Senxiangism is not a negation of tradition but a contemporary activation of the traditional spirit. It draws wisdom from traditional Chinese philosophy, transforming it into a spiritual resource for contemporary artistic creation.
For fellow travelers aspiring to this path, my advice is: technique can be learned; the Dao must be comprehended. In the daily practice of brush and ink, maintain an open and alert heart, letting creation become a sincere dialogue with nature, tradition, and the inner self.
As Shi Tao said, "Search through all strange peaks for your sketches," Senxiangism encourages artists to achieve creative transformation in art based on broad cultivation and deep experience.
Jiuteng Chen's Senxiangism Improvisational Work "Spring, Summer, Autumn, Winter"