We also see the dense fog of traditional landscape painting swirling about the work. Sprouting from Zen’s Joy (2007) appears more reminiscent of traditional art due to its more clearly figural method of depiction and the relatively subtle permeability of its various bordering. In the second room of the studio was a mountain landscape more closely similar to traditional Chan/Zen Buddhist art. Master Shen-Long, Shen-Long Awakens the Spirit of All Beings (Detail), 2008, ink and mixed media on canvas, 18.04 x 6 ft Another of Shen-Long’s works, Awakened Dragon Spirits (2008), in comparison to these two works, is entirely abstract, indicative of the variance and range of the master’s style. Her more clearly defined borders could at any moment be brushed away in the red mist surrounding her. Even in the more clearly figural work of a woman hung across from Pure Land Within Our Soul, Buddha Nature (1981), the idea of her existing in an ever-changing void is evident. Here we see the indication of a figure but they appear to literally be coming apart at the seams amongst the waves of undulating, abstract brushwork. I witnessed this in the first alcove of the studio in the work with the work Pure Land Within Our Soul (2008). This is in tandem with his busy, frantic brushwork that results in depictions lacking distinct borders, the suggestion being that the boundaries where an entity begins and ends is amorphous. Much of Master Shen-Long’s work is often completely abstract in his pursuit to express these ancient concepts. Master Shen-Long, Pure Land Within Our Soul, 2008, ink on canvas, 6 x 4.9 ft While traditional Chan/Zen landscapes may have seemed otherworldly through their use of mist and also indicative of the porous nature of existence through the use of loose brushwork, these depictions always remained somewhat grounded in reality due to their figural nature.
The expression of such ideas concerning the permeable nature of reality was for thousands of years generally rather subtle. Master Shen-Long’s art takes on these concepts through the depiction of subjects in traditional Chinese and Buddhist painting in a new way. Chan Buddhist art seeks to draw a connection between the seen and unseen world often through the medium of ink landscape painting. Surreal mountainous regions are generally depicted immersed in fog, the suggestion being of ambiguity as to whether the depicted scene is of physical reality or some higher plane.
When I arrived at his humble studio, I was expecting relatively small artworks that could fit comfortably on the average gallery wall that in one way or another would be reflective of what we understand as being of the Chan (Zen) Buddhist tradition. As Master Shen-Long does not sell his pieces, exposure to his work is limited, making me all the more excited to visit him. The contemporary Chinese artist is nomadic and never stays in one place for very long. Intuitively enhance the resolution of 2D and 3D data down to 120 nm using 15 published deconvolution algorithms, powered by efficient multi-CPU/multi-GPU processing.Master Shen-Long, Sprouting from Zen’s Joy (Detail), 2007, Ink on polyester sheet, 5 feet x 4.5 feet.Ī week ago I was invited to a rare viewing of reclusive Chan (Zen) Buddhist Master Shen-Long’s temporary studio near Dallas.
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