The ink in Chinese painting is far more than a visual hue. It carries the unique spirit of Chinese culture, embodying the philosophical tenets of Confucianism, Buddhism, and Taoism. Through ink, one contemplates forms and enters a state of serene observation—a realm advocated by all three traditions.
Taoism promotes a cultivation of “simplicity and tranquility,” suggesting that “the five colors can blind the eye.” The return from dazzling polychromy to the subtlety of monochrome ink is not a diminishment, but an elevation—a sublimation of the spirit and a return to essence. This profound spiritual lineage, though not fully systematized in textual theory, has always been embedded within the fertile ground of ancient and folk arts. It forms the ancient foundation from which the “Fantasy-Color Freehand” aesthetics germinates and engages in dialogue.