Shi Zhongying :: Essays
Shi Zhongying’s Contemporary Buddhist Aesthetic :: Tally Beck
In discussions of his own approach to his work, Shi Zhongying emphasizes his understanding of symbolism and metaphor. Invoking Jungian archetypes, he manipulates media and form to develop a visual language for Buddhist philosophies. While there is a powerful sense of revelation in his work, there remains an element of searching. The crisp formal qualities imply clarity for complex metaphysical concepts. Simultaneously, there are the ever-present notions of experimentation and approximation. With each answer, solution and resolution Shi Zhongying deftly supplies, he attaches a question, a problem and a conflict. The resulting visual and sensual balance contributes to the overarching notion of the creation of a contemporary Buddhist aesthetic.
Form is nearly always the key aspect in any work of art, but Shi Zhongying seems to take the notion of form to a higher level. His careful (and remarkably patient) explorations of the formal elements of sculpture and painting appear initially to dominate the subject matter and purpose of his creations. After further consideration, the complex structuring and geometric rigour reveal themselves to be mere stepping-stones to a meditation on and exploration of spatial relationships. The investigations of the spatial relationships that Shi presents embody the metaphors for metaphysical concepts the viewer is invited to contemplate.
Aside from the philosophical power and spiritual energy that Shi has imbued in his works, there is undeniable grace and lyricism.
Tally Beck
Adding to his works’ philosophical impact, Shi designs his installations to be viewed from different perspectives. In doing so, the artist underscores the importance of transitions. Transitions hold great importance in Buddhist thought. They are thought to carry intense spiritual potential, and alertness and awareness during transitional moments offer the keys to understanding reality. Shi often presents us with subjects that seem to be frozen in a moment in time, or (perhaps more accurately) he has slowed down the transition for us so that we may achieve some visual and spiritual clarity through observation.
Our own movement and examination elaborates on the transitions and puts them back into motion at a pace we can determine and thus comfortably follow.
The emphasis on metaphysical transition informs Shi’s selection of media and form. The sturdiness and purity of stainless steel give us the sense that the sculptural medium is the ‘control’ in the experiment: we can trust its static qualities. To emphasize dynamic elements and clarify our perspective, Shi gives us the rigid geometry of the grid in many instances. The insistent regularity of this pattern makes slight variation conspicuous, as on a two-dimensional topographical map. Any warp or bulge is highlighted in this format, and Shi makes it easy for us to see how different his works look from different angles and in different lighting.
Aside from the philosophical power and spiritual energy that Shi has imbued in his works, there is undeniable grace and lyricism. He achieves these effects by imitating universal forms in his creation. Sometimes he maintains the exact geometric symmetry of a reflection in a motionless pool of water.
At other times, he delicately traces the sensual curves of a vine or a nautilus shell. All of his forms embody the idea of complex balance that is central to Buddhism and indeed to the universe itself.
At other times, he delicately traces the sensual curves of a vine or a nautilus shell. All of his forms embody the idea of complex balance that is central to Buddhism and indeed to the universe itself.