There are scriptures on the sea

Artwork Interpretation

In the painting, the verses of the Diamond Sutra serve as the narrative foundation, like dense life codes. The blue and yellow lines arranged vertically, resembling symbolic forms of ocean waves, interweave with the verses, creating a “text - image” dialogue. The color blending (gradients of yellow, blue, and red) adds a flowing visual layer to the verses, breaking the inherent static nature of characters.

In terms of composition, the verses cover the entire painting, with lines interspersed, creating “chaos within order” — the regular arrangement of verses represents rational order, while the free wandering of lines embodies sensorial chaos. They permeate each other, giving the flat canvas a sense of spatial depth. The viewer’s gaze wanders between characters and lines, a spiritual journey of reading the scriptures and a visual stroll of appreciating images.

Color acts as an emotion reconciler: The warmth of yellow, coolness of blue, and liveliness of red collide within the gray tones of the verses, seemingly simulating the light and shadow changes of the ocean, infusing natural poetry into the religious text. The thickness of lines and intensity of colors are not random; they are emotional rhythms — thick lines like the grandeur of ocean waves, thin lines like the softness of tides, resonating with the rhythm of the verses to form a unique visual movement.

The painting style blends text art and abstract expression. Abandoning the “image - dominated” approach of traditional painting, it makes characters the core of visual elements. The verses are no longer mere meaning - conveying  symbols but “visual cells” that, together with lines and colors, build a spiritual landscape. Each character bears the dual weight of faith and art, transforming the religious text into a perceptible visual ritual.

Emotions hide in the gaps of the text: The solemnity of the verses is the power of faith, the flow of lines is the pulse of life, and the collision of colors is spiritual awakening. The whole conveys “movement within serenity” — Injecting the dynamics of nature and life into the constant order of religious texts, faith is no longer a lofty dogma but a vivid experience blending with life and nature.

It evokes Xu Bing’s “character art” in deconstructing symbols, yet Scripture by the Sea emphasizes the fusion of religious texts and natural symbols more. It also has Pollock’s abstract expression but with the serenity of Eastern religion. Using specific verse arrangements and line interweaving, it transforms religious spirit and artistic expression into touchable visual meditation, telling viewers: The inheritance of faith lies not only in the recitation of characters but also in the renewal through artistic reconstruction. When verses interweave with ocean wave lines, the solemnity of religion and the agility of nature coexist. Art becomes a bridge connecting the sacred and the secular, making the “journey of scripture by the sea” both a spiritual pilgrimage and a visual awakening. In the collision of characters and colors, one sees the eternal vitality of faith.

Why do the scriptures and water waves create a floating, interwoven effect?

The painting employs a transparent layering technique: scriptures cascade vertically in the background, while blue ripple-like lines overlay the surface. This overlap generates the illusion that the texts are drifting on the sea, enhancing the sense of fluidity and mystery.

Why are blue and orange-yellow the dominant colors?

Blue represents the depth and infinity of the ocean, while orange-yellow conveys the warmth and radiance of the sky. Their interplay evokes a transition between dawn and dusk, suggesting that the scriptures are continuously “recited” in the eternal cycle of light and sea.

What details are worth close observation?

Viewed up close, each line of scripture reveals subtle variations in brushwork, echoing the rippling of water. In the lower half, horizontal wave patterns intersect with the vertical scriptures, forming a unique textile-like grid, reminiscent of woven silk.

Is this work suitable for contemporary ink painting collections?

Yes. The work transcends the boundaries of calligraphy and painting, treating text as a visual form and integrating it with maritime imagery. It exemplifies contemporary ink painting, making it a compelling acquisition for collectors seeking a balance between cultural depth and modern aesthetics.

How does this work embody value in literati art collections?

It continues the literati tradition of uniting poetry, calligraphy, and painting, while reinterpreting it through modern color language. Its value lies in bridging scholarly resonance and cross-media innovation, making it significant for both literati collections and curatorial contexts of themed exhibitions.

What should I pay attention to when buying an artwork or its derivatives?

A: Click here to view ARTPHILOSO's Guide for Collectors.

More paintings from this series：

There are scriptures on the sea 2

There are scriptures on the sea 3

There are scriptures on the sea 4

There are scriptures on the sea 5