In the research of producing paper, Chinese ink, brush pen and mounting, Tai Xiangzhou gradually understand the Chinese universe view and view of Chinese art history, which are the far-reaching theory planning for his creation in the future.

Chinese universe view is totally different from the westerners’. In European tradition, the universe operates scientifically according to the manner which is decided by an ultimate reason. Chinese thinks the universe is decided by the creation and change of itself, without the control of inclination out of the universe. All the behavior of human-beings should meet ‘Tao’, the representation of the way of universe. The mode of history should not go to a presetted target but turn to the final effort to understand the character of ‘Tao’. Human-being is the negligible object of the universe and also the subject which controls everything. You can’t understand why the extension of Chinese painting goes to the domain of view of universe without understanding that point.

Emulating Wu Zhen’s Messages Conveyed Through His Brushwork仿吳仲圭筆意圖 INK ON PAPER, 2008 54? x 24? inches (137.5 x 61.5 cm.)

The painting thesis of Wei and Jin Dynasty Painting Praise said:” I have seen a lot of paintings. They depict the scene before the origin of the universe and also imagine the incoming future.” It shows clearly that painting can connect the origin of universe and future. Landscape painting which is a kind of typical painting pattern to represent the Chinese view of universe has not only complicated conceptions but also special material construction. There is a founding pattern root in the material and the language of landscape painting, e.g. the composition of brush pen, Chinese ink, paper and inkslab is corresponding to the Chinese traditional view of world. Landscape painting represents the process of painter’s complex aesthetic experience from realizing the universe and nature to forming the pattern structure. The pattern is symbolic and regarded as the fruit of represents the science, philosophy and aesthetic ideal of the time. These theories are the result of Xiangzhou’s thinking in these years. We believe that his painting is promising on his munificent theory foundation.

Xiangzhou said:” Painting is my dream since my childhood. It is the luckiest for me that I can calm down and learn painting at the age of forty after travelling for decades.” The Buddha says:” restrict and stabilize your heart by your own heart, then your heart can calm down without any gap between your heart and your status, and your heart will become silence without any distracting thoughts. We should learn this kind of silence in Xiangzhou’s heart. Widening the new vision in the 21st century makes the precious treasure of Chinese art and history as profound but undeveloped cultural resource and the fountain to restore the modern life and human creation . The effort of the young generation makes the hope obvious.