“Things exist as themselves; therein lies what is real.” Tea, gathered from the ordinariness of daily life, seeps into xuan paper and spreads according to its own rhythm, leaving behind unadorned, uncorrected traces. The emergence of tea stains recalls the language of ink painting, yet remains distinct from it. With Chan Buddhism as his guiding sensibility and tea as his chromatic medium, the artist allowed the image to unfold in a state of quiet freedom and transcendence.

Chan’s notion of “non-duality” dissolves the opposition between subject and object, allowing all things to manifest according to their own nature. In Tea Stains, the artist relinquishes control over the medium. Tea exists as itself: the gradations of tone, the soft diffusion of edges, and the darker cores formed through oxidation register the autonomous movement of matter itself. Within the composition, stain and blank space sustain one another. Each mark asserts a tangible presence, yet it also breathes within surrounding emptiness. Solidity and void no longer stand in opposition; they arise together, each generating and completing the other.

“物如其自身而存在，这便是‘真实’。”茶作为日常生活中的拾得之物，在宣纸上自然晕染，留下朴拙的痕迹。茶渍的生成脱胎于水墨，却又区别于水墨。艺术家以禅宗为心，以茶色为彩，使画面呈现出一种自由而淡泊的精神境界。禅宗所强调的“不二法门”，意在消解主体与客体的对立，强调万物各以其自身方式显现。在《茶渍》中，艺术家主动让渡对材料的控制。茶如其自身而存在，颜色的深浅、边缘的扩散、氧化形成的深色核心，皆是物质自身运行的痕迹。画面中茶痕与空白相互依存，每一处茶渍既呈现为具体的“实”，又在周围的空白中显现出“空”的气息，使有与无不再彼此对立，而是相互生成。