[GUIDED TOUR 導賞] Reimagining the Diamond Pine: Ink Art of Wang Xin 金剛松影︰王新水墨 Painter and seal carver Wang Xin was born in Xingtai, Hebei province, in 1964, and graduated from the Chinese Painting Department of the Sichuan Academy of Fine Arts in 1991. He currently lives in Beijing, where he teaches Master of Fine Arts students at the Communication University of China. This unprecedented exhibition of his paintings of pine trees offers specific insights into his philosophical mindset and, more specifically, the Buddhist influence of the Diamond Sutra (Vajracchedikā Prajñāpāramitā Sūtra).The artist’s large compositions combine finely rendered ink drawings of rocks and trees with excerpts from the Diamond Sutra. Reminiscent of Wang’s daily religious practice and study of the text, the sutra’s philosophy influences his compositional choices and defines how Buddhist concepts affect his use of space. A pivotal Mahayana Buddhist scripture, the Diamond Sutra is a core text in the Perfection of Wisdom (Prajñāpāramitā) tradition. Through a dialogue between the Buddha and Subhūti—one of the Buddha’s ten principal disciples, foremost in “dwelling in peace”—it teaches that reality is illusory and empty, revealing profound insights on non-self (anātman) and liberation through non-attachment, impermanence, and emptiness.Neither meant to illustrate the scripture nor directly support its narrative, Wang’s Diamond Pine depictions carry the gravitas of the Diamond Sutra’s philosophy by depicting trees that transcend commonly expressed symbolic meanings. While in Chinese culture the pine tree symbolises longevity, endurance, steadfastness, and integrity—often representing noble scholars or gentlemen who remain strong and true despite harsh conditions—Wang’s compositions stand out for their use of void spaces. They employ a pictorial language that emphasises the longing for tranquil and peaceful isolation taught by the sutra.王新，書畫家兼篆刻家，1964年出生於河北省邢臺市。1991年畢業於四川美術學院國畫系。現居北京，在中國傳媒大學擔任美術與書法專業碩士研究生專業導師。本次展覽呈現的松木主題繪畫，堪稱空前，可觀見藝術家沉潛之哲學思辨，尤能體察《金剛經》（《金剛般若波羅蜜經》）佛學思想對其創作的浸潤與滋養。藝術家以宏幅巨制立格，以精湛筆墨鋪陳山石林木之態，並融入《金剛經》經文節選；筆墨與梵典相契，形神與禪意共生。王新先生的「金剛松」系列，恰與他日常研經躬行之旨趣相合。經文的哲思要旨，不僅深契構圖取捨之妙，更滲融於畫面之經營位置。《金剛經》是大乘佛教的核心經典，也是般若波羅蜜多（Prajnaparamita）法門之樞要典籍。經文中，佛陀與須菩提——(佛陀的十大弟子之一，以頭陀第一「安住於寂靜」著稱）——之間問答因緣，敷演「諸法性空」的實相，揭示無我（anatman），並指明經由無執、無常和空性獲得解脫之智慧。王氏「金剛松」系列畫作，既非經文之圖解，也非敘事之直陳，乃借松木意象之闡發，超越此母題固有象徵意義的文人傳統，遞傳《金剛經》哲學的莊嚴內涵。在中國文化中，松象徵長壽、堅韌、剛毅與氣節，歷來喻指逆境守心、堅韌不拔、忠貞不渝的君子雅士。畫家之作別具格致，尤在妙用留白的繪畫語言，令構圖超拔出眾，展現經文所蘊含的清淨寂滅、超然物外之境，或令觀者於松影梵音中，體悟「應無所住而生其心」的寧靜與隱逸之美。 Date/Time: 16/05/2026 14:30-15:00 Venue: 1/F and 2/F, Fung Ping Shan Building, UMAG, HKU, 90 Bonham Road, Pokfulam, Hong Kong Organized by: University Museum and Art Gallery

Uploaded at 2026/05/04