In the 3rd year of Emperor Xiaoming in the Northern Wei Dynasty (527 A.D.), Bodhidharma, the 28th generation disciple of Sakyamuni, arrived at China after a long journey and finally settled down in Shaolin Temple, having passed through Guangzhou, Nanjing and crossed the Yantze River. Not far from the Wuru Peak there was a natural cavern, not less than 3 metre wide and about 6.6 metre in length. It was well-lit, preserving heat during winter and breezy in summer. In front of the cavern was a small patch of grass lawn, surrounded by dense foliage.  Dharma sat in the cavern in meditation for 9 years.  When he finally emerged from the cavern, his image was left on the cavern wall oppoiste where he sat in meditation.  The creases of his robe could be seen faintly, just like a delicate Chinese ink painting.  The Dharma Garden solo exhibiton by Shi Jing will bring us back to this legend applying his concept and technique of “contact by sight” for his new works.

If one views Shi Jing’s paintings head on, one can see no more than the blind does. Only when one steps to the sides or walks around would the “magical images” emerge from the moving shadows cast by the lights.  Abandoning the traditional painting techinique using lines and colors, Shi Jing keeps only the forms and textures of his brush strokes, making it challenging to appreciate but arousing unique pleasure at the same time.  Very often we only see what we expected to see, or our consciousness filled in the details for us.  However, the works of Shi Jing require us to appreciate with unconventional patience and concentration, thus making our experience more accurately and profoundly.

Shi Jing’s “contact by sight” is to use one’s eyes to touch, a very vivid phrase, for it provides a kind of visual experience very close to the sense of touch by extending the contact of the audience with the works. By his unique technique, the artist not only stimulates the visual sense of the audience, but also inspires the audience to complete the jigsaw puzzle mentally while walking around the artwork, showing not only the great mastery of the artist over the imagery world, but also a high level of guidance and mastery over the individual audience. Isn’t this ability the benchmark and ultimate pursuit for art expression?

Dharma left his image on the cavern wall after his meditation. That was his meditative reflection to the outside world. In fact, each of us cultivates within ourselves, though mostly unconsciously, projecting our images onto others.  This is the same for artists, politicians, entrepreneurs and common people as well. Hopefully, this exhibition will provide an additional way of reflection, enabling  us to appreciate the profoundness and brilliance of the Dharma Garden.