Untitled Meditation 凝思

These paintings constructed on few basic principles of composition, these are, Line, forms, colors, space division, rhythm, balance and texture. (Fig. 11 A– 11 F)

Process of painting starts from the one single dot towards unknown lines on over all canvas, but same time need to forget realistic form, if any realistic form will come in the lines, its need to distrait and create another unknown lines. After satisfaction of lines try to find some unknown forms of the drawn lines. The forms must be choosing in the next importance of space division and balance. Then need to give rhythm on over all painting. Now the meditative atmosphere starts, same time start to thinking of colors with related unknown forms. Balance gives by either lines-forms or by colors.

Now the deep meditation starts, and mind is in fully familiar atmosphere with painting.

Slowly, these unknown forms and colors create a something known space in the mind.

Painting starts to breath and on live surface of painting if need then gives related texture.

In this kind of painting subject matter is not important. The process of painting called, without planning. Also the process is same as meditation. We don‘t know where we will go, but final pursuit is to reach in the ‗empty mind‘ in silent unknown place.

This painting style is quiet difficult to understand for general viewer. But after gaining the knowledge of basic principles of composition it is so easy and joyful.

Message for society: Firstly for ‗Self Realization‘ and secondly, in the world, people have different fields and professions. Anyone can meditate through continuing their profession. If viewer could understand the meditative atmosphere and method of painting, then I think painting could be success.

5.1.2 Buddhist Mandala (曼陀羅) Geometry Abstract Painting Series 2010-12.

曼陀羅幾何抽象系列畫作 2010-12

If we emphasized Abstraction we would find that the word is nothing less than Meditation in terms of meaning and substance. One of the great sources of abstract modernism is ancient oriental art; among them are the most ancient Eastern philosophies in the world, the Mandala philosophies. ¹⁷⁴ Traditional Mandala symbolisms (forms such as circle, square, and triangle) and philosophies belong to India and mostly spread in East Asian countries.

Circle: (Enso) is the ultimate symbol of the sacred feminine. The symbol of the circle helps us to connect to the depths of our soul or true self. It is a shape without beginning or end, thus representing wholeness, unity, the center, the self, totality, eternity, infinity and timelessness. (Fig. 8,, 8 F, 8 U, 8 X)

Square: A square represents the natural (structured) order of the universe. The four cardinal directions (north, south, east, and west) the four major season (winter, spring, summer and autumn), the four cosmic elements (sun, moon, planets and stars) the four common phases of human life (birth, child, adult, death) the four prime elements (fire, earth, air, water) (Fig. 8 C, 8 E, 8 F, 8 I, 8 S, 8 V, )

Triangle: Three represents the union of the numbers prior to it (One and Two). If one represents force, and two represents an opening, then three is the birthing of true wisdom. Downwards triangle represents: Female, Lunar, Shakti, Passive, Cave, Down and Mother. Upwards Triangle represents: Male, Solar, Lingam, Shakti, Active,

174 Tenzin Namdak, Yasuhiko Nago, Musashi Tachikawa, Mandalas of the Bon Religion, (Saujanya Publication, Delhi, 2002) P. 49

Mountain, Up and Father. Together the triangles represent the manifested universe evolved from the central point within the serpent-circle of time and space. (Fig. 8, 8, 8, 8 A , 8 B, 8 D, 8 D, 8 F, 8 G, H, 8 J, 8 K, 8 L, 8 M, 8 N, 8 O, 8 P, 8 R, 8 T, 8 W, 8 Y, )

I became curious the philosophy that examined the transience of life and meditative method being invoked in ‗mandala abstract painting series.

Forms like circle, square, triangular and spiral or (Kundalini), for me, these are only basic or primary forms. No meaning for me at least at present. I wanted to be relax and get some experience of compose and these basic shapes. These basic shapes help me to spill out into awareness. Playing with these shapes cause multi-dimensional understanding. This multidimensional understanding posits in such a supernatural power field, where these art forms help me to transform into an arena of enlightenment. In Zen, also the advanced stage of realization in addition to the realization that ‗form is emptiness‘, and ‗emptiness is form‘. I have being relaxing and getting some experience of it.

Gray- (Black and White) by the philosophy of Buddha, birth and death are two sides of one coin. After we die our body burns and becomes an ash. Color of Ash is gray.

So, in this period I was deeply in gray for understanding the truth of birth, life and death.

For the color scheme, I have chosen Basic Colors (Yellow, Red, and Blue). It‘s said that all colors in the world made from basic colors (Yellow, Red and Blue). Life is colorful but very transient So, I choose these 3 basic colors in this series. This

painting inspired by the philosophy of Zen monk and poet Basso from the particular poem ‗Life is Transient (short)‘. (Fig. 76, 77, 78)

5.1.3 Taoist influence in my paintings. 道對我的創作之影響

Taoism philosophy and Lao-Tzu‘s thoughts at first are difficult and confusing to understand. But Indian philosopher Osho has described and explained in very pure and easy manner the Tao Teh King of Lao-Tzu in six books in hundreds of chapters.

Anyone who will read these books his/her entire life will change and realized the real cream of Tao in very simple manner and beloved Lao-Tzu. . I have been moved a lot and almost entire of present artistic life has been enlightened forever.

5.1.3.1 Music of the contrast rhythms – Tao. 對比律動的和諧曲--道

In Taoist philosophy, the concept of yin-yang is used to describe how seemingly opposing forces are interconnected and interdependent in the natural world. Many natural "opposites" such as dark and light, female and male, low and high are considered, in Taoism, as yin-yang. Yin and yang are complementary opposites within a greater whole. Everything has both yin and yang aspects, which constantly interact, never existing in absolute stasis. Existence and non-existence give birth the one to(the idea of) the other; that difficulty and ease produce the one (the idea of) the other; that length and shortness fashion out the one the figure of the other; that (the ideas of) height and lowness arise from the contrast of the one with the other; that the musical notes and tones become harmonious through the relation of one with another (Fig. 3 – 3 H) A well-known musician Marc Avante explains, "Dropping a stone in a calm pool of water will raise (sound) waves and lower troughs between them. It is this alternation of high and low points in the water that will radiate outward until the movement dissipates and the (musical) pool is calm once again".¹⁷⁵

175 http://EzineArticles.com/?expert=Marc_Avante

India‘s Philosopher Osho described, The notes of music, that are inverse and opposite, combine together in harmony and give rise to the best of music, what we refer to as harmony in music, is nothing but a collection of the opposite notes. When we make a noise, then too, we make use of opposite notes just as we do in music. In noise and din, the notes become anarchical. There is no rhythm, no co-ordination between the notes.

The same notes combine and co-operate with each other to form the harmony of music. Therefore Lao Tzu says, "The concepts of high and low are interdependent."

The notes and sounds of music co-ordinates with each other create a harmonious melody. Lao Tzu does not see the opposing as the hostile; he does not consider the far away to be far away; and he does not understand the contrary to be the opposite. Lao Tzu maintains: "All distant things are measured by their proximities. All proximities are the diminutive forms of the distant things." If you want to draw a white line, you need a black background. Therefore, he who says white is the opposite of black, is mistaken. We have to make use of black in order to bring out the white in all its distinction. He who says the morning destroys the night, is mistaken. The truth is, the morn is born out of the night. Things which we see as contrasting and opposite, Lao Tzu sees as united joined. According to this philosophy I have tried create a harmony of painting by playing with contrast lines, shapes, colors balance, rhythm and texture too.

5.1.3.2 Mystic Supreme Source- Tao. 神秘至高的源頭--道

The Tao Te Ching, often called simply Laozi after its reputed author, describes the Dao (or Tao) as the source and ideal of all existence: it is unseen, but not transcendent, immensely powerful yet supremely humble, being the root of all things. According to

the Daodejing, humans have no special place within the Dao, being just one of its many ("ten thousand") manifestations. ¹⁷⁶ Yet mystery and manifestations arise from the same source. This source is called darkness. Huston Smith, in his book The World's Religions, states that there exist three meanings of Tao: the Way of Ultimate Reality, the Way of the Universe, and the Way of Human Life (Smith 198). These three meanings of Tao allow for a more comprehensive understanding of how the Taoist mystical experience contains both numinous and mystical aspects. (Fig. 2 – 2 G) The experience of the Taoist mystic has the numinous quality of ineffability. Happold dedicates a chapter of his book to the characteristics of mystical states and includes ineffability as a universal aspect of the mystical experience. First two lines of the Tao-Teh-Ching state that the true Tao is incapable of being talked about or named.

Names infer manipulation and limitation, and Tao is limitless, infinite and universal.

Thus, the Taoist mystic realizes that any interpretation of his or her experience would be impossible and inconceivable. Adherents of philosophical Taoism recognize the ineffability of Tao and realize that Tao can be known only through direct and experiential knowledge. Tao cannot be comprehended through the intellect, and

"elimination of knowledge" is encouraged. According to Eliade, "the Taoists in fact condemn all discursive knowledge, for, they maintain it introduces multiplicity into the soul, which should, rather, `embrace Unity' - be unified in the Tao" (Eliade 291).

Thus, Taoism advocates the gradual "elimination of knowledge" in order for the Taoist saint to gain intuitive wisdom and cultivate wu-wei.

The Tao is what we call the source of everything. It is indistinct - we cannot see it clearly, nor can we understand it completely. We do not know how the Tao came to be, or if it came from anywhere at all. Does the ultimate source have a source? We

176 Ivanhoe & Van Nording, 2005, P. 162

simply cannot say. All we can say with certainty is that the Tao embodies the principles of Creation. Thus, if there is indeed a God who created the universe, the Tao had to be present before the Creation could take place.

Therefore, Tao may is not a supreme being that transcends humankind, it is a supreme state of being that transcends humankind in its supernatural state as the Way of the Universe. ¹⁷⁷

5.1.3.3 Absolute and Eternal Tao. 純粹永恆的道

According to Tao Teh King, Osho describes, Tao is the way of wholeness: not dividing anything, not denying anything, simply remaining choice less and aware.

You will find yourself listening to this talk as if it were a cool, refreshing waterfall, and as you listen, you will come to understand why Osho and Lao Tzu emphasize hollowness, emptiness. When you can be nourished by emptiness, you are in touch with the eternal. This connection with the eternal comes through a dancing being. The more you dance outwardly, the more an inner dance becomes possible and the inner emptiness becomes blissful, ecstatic, and eternal. In Taoism, an absolute entity which is the source of the universe; the way in which this absolute entity functions. (Fig. 4)

5.1.3.4 In the depths of Tao’s selflessness. 道深層的無私內涵

It is not enough to be selfless for yet the self remains. Only in the condition of selflessness where the self is completely absent, then only does anger fall off. ¹⁷⁸ The Tao is like an empty container that you can fill with water and utilize. Yet no matter how much you do this, it will never be filled up because its capacity has no limit. It is

177 Eliade, P.292

178http://webcache.googleusercontent.com/search?q=cache:_aInDrZBdKcJ:home.pages.at/onkellotus/T TK/English_Lin_TTK.html+In+the+depths+of+Tao%E2%80%99s+selflessness+Lao+Zi&cd=5&hl=e n&ct=clnk (Access on 8/9/2012)

a bottomless container; it is infinitely deep. To be "selfless" in this context means to be unconcerned with one's well-being, to disregard one's body - to sacrifice oneself.

Here we have another example of the Tao paradox: the sage can advance his own

"selfish" agenda, by being totally selfless. (Fig. 5 – 5C)

"Heaven is eternal, the Earth everlasting. They can be eternal and everlasting because they do not exist for themselves. For that reason they can exist eternally." Therefore, enlightened people put themselves last, and yet they are first. Put them outside and yet they remain." Despite the emptiness of the Tao, its function is inexhaustible. This emptiness is not the same as "nothingness," for the infinite depths of the Tao conceal the seeds of Creation. There appears to be nothing in the Tao, and yet it contains everything.

5.1.3.5 Let the ego drown and enter in the mystery. 放下自我,潛進奧秘

Religion scholar N.J. Girardot has much to say about the nature of chaos in early Taoism. Of death he writes: Returning to the condition of either infancy or death is homologous with the cosmic return to the chaos condition. The life of a man passes through four great changes or transformations infancy, youth, old age, and death. But in this scheme, infancy and death are symbolically equivalent. Death from the perspective of the cosmic life of the Tao is, therefore, but a return to the condition of infancy where "one's energies are concentrated and one's inclinations are unified—the ultimate of harmony." When a man dies it is a return to the beginning...Here it is said that when a man dies, "he goes to his rest, rises again to his zenith." One thing basic to the Taoist belief is a redefinition of "self" or "ego." Taoists believe that the way we try to stand outside ourselves in the attempt of self-observation is the source of most,

if not all, of our unhappiness and loneliness, simply because in order to observe as such, we must see our "self" as separate from other "selves."

We never try to go beyond illness. The alchemy of LaoTzu and the philosophy of such as him is the philosophy of the Beyond. Be separate and free from everything.

Remove yourself from where there is confusion and survey everything from a distance. You will laugh. Then nothing binds - no entanglements. Lao Tzu says,

"Remove the knots, and disentangle them so that their glare is tempered." The pride that is within us is like a flame; it burns. Its brightness hurts the eye. There is no splendor, there is fire within it. So Lao Tzu says, "Temper its brightness. Blunt your edges a little, disentangle the complex a little and you find your ego (AHANKAR) is ego no more. It has become 'ASMITA'. (Fig. 6 – 6 A)

5.1.3.6 Perhaps, the Reflection of before God existence. 也許,這是存在在神明之前 的反映

In this sutra from Tao The King, Lao Tzu points towards him and says,‖ I do not know whose son is this.‖ This that remains unknown when all is known, this that remains unopened when all else is revealed, whose mystery cannot be solved by any knowledge, who is this? I do not know whose son is this. ‗I do not know of whom he is born, from where he comes, from which root source he has arisen? Perhaps he is the image of that which was before God. This Void, this mystery, is perhaps the reflection of that which was before God.

Lao Tzu says ‘perhaps‘, he means to say that he makes no claims, nor does he insist that you should believe that what he has known is the Truth. He only means that that is how he experienced it and what is the worth of the experience of an ordinary person

like him? Therefore he makes use of the term, ‘perhaps‘. ‖What is the standing of this small vessel before the gigantic, infinite emptiness? Therefore I say, ‘perhaps‘. What I say could be wrong also. What I have experienced can only be a dream!‖ ¹⁷⁹ Thus Lao Tzu explains. We try to give the stamp of reality even to our dreams but Lao Tzu has the courage to call his experience of Truth as a dream! The most unique thing about it is, that this courage only comes on the advent of Truth. As long as truth does not dawn on us, we never have this courage. If we have the slightest doubt about one truth, we proclaim it louder. (Fig 7 – 7 A)

179 Osho, The Way of Tao,Talks given from 19/6/71 to 8/11/71 Original in Hindi.

5.1.4 Conclusion結語

The guidance of my fine art professor about collective unconscious, that all humans have common inherited archetypal and symbolic patterns of emotional and mental behavior which took me to the higher levels and in depth fields of paintings in general and its abstraction in particular. According to this these views, all archetypes and symbols are primordial and universal and form a background of awareness that all humans share. Through this research Zen and Taoism philosophy, I realized that my professor‘s guidance was constructed on D. T. Suzuki, John Cage, Osho and especially Carl Jung's theory of the collective unconscious relates directly to fractal geometry in the sense that the patterns created through fractal geometry are remarkably similar to patterns that occur on innumerable levels of the natural world.

180 This suggests that these levels of the natural world and the universe share a similar underlying structure that manifests itself in particular forms, colors, and patterns.

180 C G Jung: Memories, Dreams, Reflections, (Pantheon books, 1973) P.186-197

CHAPTER SIX

CONCLUSION 第六章 結論

Conclusion is arrived on the uniqueness of Zen and Taoism even after thousands of years of this philosophy; constructed on meditation as nothingness and empty mind as part of the meditation. Zen and Taoism philosophy can lead us on the journey to finding our own inner truth if one could relate abstract painting to the empty mind, nothingness, timeless, space-less, untitled. Then what is abstract painting? And why are large numbers of abstract painters attracted by Zen and Taoism?

The conclusion is based on the presence of Zen and Taoism forms such as Enso,

The conclusion is based on the presence of Zen and Taoism forms such as Enso,