Shengui Changsheng: Start from Zhenwuwei and add some points to cultivate immortality

"Mo'er's painting perfectly captures the spirit of Jiangnan." Shen Zhou pointed to the misty rain scene in the painting, his eyes shining with delight. "Especially the treatment of the water vapor, it's so natural, you can almost feel the moisture in the air, wonderful! It seems you've truly benefited greatly from this trip, and have begun to transform what you've seen into your heart, and then express it on your brush. Very good, this is the right way to paint!"

Even the usually strict father, Shen Wenyuan, showed a rare smile of relief.

This small, successful "trial run" gave Fu Shaoping confidence. He decided to continue using this approach of "integrating innovation with tradition" to gradually release his understanding and insights, slowly changing the perception of those around him regarding the "way of painting."

At the same time, he also began to use the Shen family's connections and resources to consciously collect ancient painting theories and even Taoist classics about concepts such as "Tao," "Qi," and "Yi." He vaguely felt that if the art of painting in this world could be combined with his understanding of the "Great Tao," it might be able to forge an unprecedented path.

With brush and ink as the boat and heart as the sail, Fu Shaoping's third life is steadily progressing along a unique path of artistic exploration, toward the mysterious gate of all wonders. His paintings will depict not only landscapes, flowers, and birds, but also his profound reflections and questions about life, the universe, and reincarnation.

After receiving praise from his grandfather for his painting "Jiangnan in the Rain," Fu Shaoping (Shen Mo) did not become complacent. Instead, he became even more dedicated. He continued to complete his daily homework for the Shen family, and his traditional landscape and flower-and-bird paintings became increasingly exquisite, even showing signs of surpassing his grandfather's. This made Shen Wenyuan and Shen Zhou very gratified, believing that the Shen family's tradition had a worthy successor.

However, deep within his unseen study, his exploration of "ink play" became increasingly bold and profound. He began to incorporate more insights from his past lives and a vague understanding of the laws of heaven and earth into his paintings. He no longer painted merely the scenery he saw, but rather the "principles" and "the Way" in his heart.

He painted a picture titled "Withering and Flourishing," in which most of the painting depicts parched, cracked earth and nearly rotten dead trees, the ink a dry, scorched black, conveying a sense of deathly stillness. However, in the cracks at the roots of the dead trees, a few barely perceptible specks of green are added with extremely pale ochre, as if containing the infinite possibility of rebirth. This painting embodies his reflections on return to nothingness and rebirth, destruction and creation.

He also painted a work titled "Starry Night," the entire canvas of which is based on a deep, dark blue, not applied evenly, but rather through subtle variations in ink tone to create the vastness and profound mystery of the cosmos. In the center of the painting, only a few stars are depicted with titanium white interspersed with a touch of gold powder, sparse and desolate, seemingly containing the profound truth of the birth and death of stars and the cycle of all things. This originates from fragments of his first incarnation as the ruler of the stars.

In these paintings, technique has become secondary; the strong ideological and spiritual qualities have taken center stage. They are no longer mere decorations to please the eye, but rather "vessels of the Tao" that directly touch the heart and provoke deep thought. When Fu Shaoping himself views these works, he feels captivated, as if he is conversing with another aspect of himself.

He knew that these paintings could not be shown to anyone for the time being. But he also felt that the "qi" within him, which belonged to painting, resonated more and more strongly with his Daoist heart, as if it had touched upon some latent artistic law of this world.

The turning point came at a literary gathering hosted by Li Wenshan, a respected elder of the Jiangnan literary world and a retired scholar of the Hanlin Academy. Li Wenshan and Shen Zhou were close friends, and the gathering invited many famous scholars and calligraphers from Jiangnan. Shen Zhou was naturally among them, and he brought along his grandson Shen Mo, whom he had placed the most hopes on, intending to broaden his horizons.

The gathering was held in Li Wenshan's private garden, "Tuisi Garden." Amidst the flowing water and the sounds of string and wind instruments, scholars and poets composed poems, exchanged verses, and wielded their brushes, creating a lively yet elegant atmosphere. Fu Shaoping quietly followed behind his grandfather, observing the people present and experiencing the ambiance of this era's elite cultural circle.

As the wine flowed freely, Li Wenshan suggested that they paint on the spot to enhance the atmosphere. Several established painters readily agreed, each displaying their talents in landscapes, figures, or flowers and birds, drawing rounds of applause.

When it was Shen Zhou's turn, he smiled slightly, but turned his gaze to Fu Shaoping beside him: "I have been clumsy lately, so I will have my grandson Shen Mo present a piece on my behalf, and ask the experts to correct it."

These words caused a stir among the assembled guests. Shen Mo was only thirteen years old, and although he was talented, it was far too much of a burden to entrust him with the task of painting on behalf of Shen Zhou in such a gathering of distinguished individuals! All eyes immediately turned to Fu Shaoping, some with curiosity, some with scrutiny, and some with disapproval.

Fu Shaoping understood that his grandfather was deliberately testing him and paving the way for him. He took a deep breath, suppressed his distracting thoughts, and walked to the painting table that had been prepared beforehand.

Lay out the paper and grind the ink.

He did not choose the meticulous flower-and-bird painting or the exquisite landscape painting that he was best at and that would win him applause, nor did he paint the "Jiangnan in Misty Rain" that his grandfather approved of.

He closed his eyes.

The clamor of the gathering seemed to vanish in an instant, and his mind sank into a state of clarity. What surfaced in his mind were the simplicity of Wangshan Village, the vastness of the starry sky, the mystery of reincarnation, and the transcendence and freedom that came with the fusion of brush and ink with his soul…

When he opened his eyes again, his gaze was clear and resolute. He picked up his brush, dipped it in ink, and began to write!
His brushstrokes flowed like dragons and snakes, swift and precise! He didn't outline specific shapes, but boldly created the atmosphere of the painting through splashed and broken ink techniques. Thick ink was used to depict the heavy contours of the mountains, while light ink created the flowing and changing clouds and mist. Amidst the mountain streams and sea of ​​clouds, he used extremely concise brushstrokes to outline a few thatched huts that appeared and disappeared, and a waterfall that seemed to be there but not there.

The entire process flowed smoothly, without the slightest pause or hesitation. He wasn't painting a specific landscape, but rather a "Shangri-La" in his heart, a transcendent, harmonious state of mind where humanity and nature coexist!
Once the painting was finished, the entire room fell silent.

Gazing at this work, so unlike any traditional landscape painting, the crowd was speechless for a moment. The brushstrokes were fluid and unrestrained, the composition powerful and majestic, the artistic conception lofty and ethereal. The mountains, the clouds, the water, the houses—all seemed shrouded in a hazy halo, possessing both a realistic texture and a dreamlike poetic quality. Even more remarkably, gazing upon this painting brought a sense of tranquility, as if the soul had been cleansed, temporarily forgetting the troubles of the world.

This is no longer just a "painting," but more like a spiritual guide and the creation of an artistic conception!
“This…this is…” An old painter pointed at the painting, his lips trembling, too excited to speak a complete sentence.

Li Wenshan suddenly stood up, walked to the painting, and examined it carefully. His eyes shone with astonishing brilliance: "Excellent! What a perfect 'meaning in the landscape, spirit transcending the physical form'! Elder Shen, your grandson's painting has captured the true essence of 'freehand brushwork,' directly rivaling the masterpieces of antiquity! Viewing this painting is like drinking fine wine, intoxicating and enchanting!"

Shen Zhou was also stunned. He never expected that his grandson would create such a work on such an important occasion, a work that was completely beyond his expectations and yet so breathtaking! The style and artistic conception were completely different from what he had taught him, yet they undoubtedly reached an extremely high level!
The room erupted in uproar, followed by enthusiastic discussion and admiration.

"A genius! A true genius!"

"A true dragon has emerged from the Shen family!"

"This boy's future is limitless!" Amidst the praise, Fu Shaoping (Shen Mo) remained calm, only bowing to his grandfather and Li Wenshan and the others: "I have acted presumptuously and have made a fool of myself."

He knew that from this moment on, the name "Shen Mo" would no longer be regarded merely as the genius heir of the Shen family, but would officially step onto the art stage of Jiangnan and even the entire dynasty with his unique painting style full of "Taoist charm".

His journey of exploring the Dao through painting began with this opportunity, opening a completely new chapter. The saying that brush and ink can connect with the divine may not be an exaggeration. And he will continue to explore along this path until he touches upon the ultimate mystery of the fusion of art and the Dao.

After his stunning debut at the Tuisi Garden gathering, the name "Shen Mo" spread like wildfire throughout the literary circles of Jiangnan. His painting "Peach Blossom Spring," praised by Li Wenshan as "meaning in the landscape, transcending the material world," was repeatedly mentioned, copied, and commented on by countless literati. Some marveled at the magnificent spirit and ethereal artistic conception contained in his brushstrokes, hailing him as a "young master"; others questioned his departure from tradition, his excessive pursuit of "uniqueness" and "danger," and whether it was worthy of high art.

However, regardless of external praise or criticism, Fu Shaoping (Shen Mo) remained unaffected. He continued his profound exploration of "Daoist painting" in the Shen family study every day, in addition to completing his family duties.

After returning from the gathering, his grandfather, Shen Zhou, summoned him to his study, dismissed everyone else, and looked at him with a complicated expression for a long time.

“Mo’er,” Shen Zhou spoke slowly, his voice carrying a hint of barely perceptible emotion, “Grandfather was also deeply moved when he saw that painting that day. Your path… seems to have diverged from the Shen family’s tradition.”

Fu Shaoping stood silently with his head down, offering no explanation.

Shen Zhou sighed deeply: "My Shen family's calligraphy and painting have been passed down for generations, emphasizing strict rules and subtle artistic conception. But your paintings are outwardly powerful, directly expressing your feelings, focusing more on 'meaning' and 'spirit,' almost to the point of... the Dao." He paused, his gaze sharpening as he looked at Fu Shaoping, "Tell your grandfather, have you encountered other opportunities? Or... do you have other desires in your heart?"

Fu Shaoping raised his head, his gaze clear and frank: "Grandfather, I have no special experiences. I just feel that brush and ink should not only be tools for depicting objects and shapes, but also bridges for expressing one's heart and communicating with heaven and earth. When I paint, I often feel that my heart and brush are in harmony, and the brush and ink are in fusion. It is as if I am not painting, but rather using my hand to naturally express what I feel in my heart and the principles of heaven and earth onto the paper. The joy of this far surpasses simply imitating the ancients."

He did not mention the secret of reincarnation, but only explained it from the perspective of artistic perception, which precisely hit the essence of "Tao follows nature".

Upon hearing this, Shen Zhou remained silent for a long time, his expression shifting before finally settling into a relieved chuckle: "What a fine 'heart and brush in harmony, brush and ink in fusion'! It seems that Grandfather was too attached to appearances. The path of painting is boundless; how can one be confined to one corner? Your ability to possess such insight and forge your own path is your good fortune, and also the blessing of my Shen family! However..." His tone turned serious, "The tallest tree in the forest is bound to be felled by the wind. You are still young, and your talent has already been revealed. In the future, you must be more cautious in your words and actions, and devote yourself to cultivation. Do not waste this talent, and do not... bring trouble upon yourself."

"Grandson will remember Grandfather's teachings!" Fu Shaoping bowed solemnly. He knew that his grandfather's words were both an affirmation and a protection.

With his grandfather's tacit approval and even support, Fu Shaoping became more at ease in his artistic explorations. He began to systematically integrate his understanding of "Tao" into his creations on different themes.

When he paints landscapes, he no longer pursues specific mountains or rivers, but captures the "soul" of the landscape—the mountains' profound benevolence, the water's agile wisdom, and the clouds' ever-changing nature. The mountains and rivers under his brush seem to have breath and pulse, allowing viewers to feel the power and harmony of nature.

His paintings of flowers and birds no longer limit him to realistic depictions of form, but rather express their state of life—the plum blossom's proud resilience against frost, the orchid's fragrance in a secluded valley, the bamboo's humble yet strong character, and the chrysanthemum's reclusive and serene nature. The creatures in his paintings are full of spirituality and humanistic charm.

He even began to try creating some paintings that purely express abstract concepts, such as "Yin Yang", "Reincarnation" and "Moment". With minimalist brushstrokes, he outlined patterns containing philosophical thoughts. Although most people find them confusing, they can evoke a deep resonance in the hearts of a few who are destined to understand them.

His paintings began to develop a unique personal style—Daoist-inspired painting. This style transcends the realm of technique, focusing more on the expression and resonance of the spiritual level. The "qi" and "yi" contained in the paintings can often directly affect the viewer's state of mind.

Those seeking his paintings came in droves, from high-ranking officials to scholars and literati, all considering it an honor to possess a genuine work by Shen Mo. Fu Shaoping did not produce indiscriminately because of this; he was sparing with his ink, and each painting was imbued with a deep feeling, making his works increasingly precious on the market.

Fame brings not only adulation but also trouble. Some conservative art elders publicly criticized him for being "unorthodox" and "pretentious." Even worse, some powerful figures attempted to use their influence to force him to hand over his paintings. However, these controversies were quietly resolved, either through the mediation of the Shen family or through Fu Shaoping's own detached attitude.

Fu Shaoping remained oblivious to all the external disturbances. His entire being was immersed in exploring the fusion of painting and the Dao. He could feel that as his "Daoist-inspired painting" improved, his mental strength seemed to be slowly increasing, and his connection with this world was becoming increasingly close. Between his brushstrokes, it seemed as if he could truly draw upon a faint trace of the energy of heaven and earth.

In this life, although he did not cultivate magic or practice supernatural powers, he opened up a unique path of self-cultivation and enlightenment on this small piece of Xuan paper.

On this day, at the request of a devout Buddhist layperson, he painted an illustration depicting the essence of the Heart Sutra. He didn't paint Buddha images or temples, but rather used emptiness as his canvas and ink as his medium to create a boundless, seemingly all-encompassing tranquility and clarity. Upon completion, moved by a sudden realization, he picked up his brush and inscribed a small line of characters in the corner of the painting:
"Neither color nor emptiness, it is both painting and mind."

These eight characters represent both his understanding of the Heart Sutra and his summary of his "Taoist Charm and Painting".

Shortly after the painting was sent, the lay Buddhist sent a generous gift back, along with a note saying that when he viewed the painting, he felt a sense of tranquility, which calmed his restless mind and greatly benefited his spiritual practice.

Upon hearing this, Fu Shaoping simply smiled faintly.

He knew he had chosen the right path. The art of painting can also lead to divine enlightenment. (End of Chapter)