The Buddha, in essence, is without form; yet it is through the forms of sentient beings that his presence is revealed.
In this work, we attempt an experimental articulation of a multidimensional and profound spiritual realm. The “figuration” within the Kizil Caves was achieved through the interplay of line, surface, and color, alongside early stylistic features such as the flowing contours known as the curvilinear iron-wire style. By deconstructing these characteristics and reinterpreting them through algorithmic processes unique to new media art, we extend the ancient principle of “the unity of Brahman and Ātman” into a contemporary artistic language. This becomes a dialogue between tradition and the present, offering viewers fresh perspectives and philosophical insight.

佛本无相 ，以众生相为其相。

在这个作品中，我们实验性的表达一个多维度、深刻的精神世界。克孜尔石窟中的“形体塑造”，是以线，面，赋彩来构成题材所需表达的形象，以及早期的疏体表现特征 “屈铁盘丝”。我们解构克孜尔石窟的特点，运用新媒体艺术独有的算法机制，结合现代艺术语境延续“梵我合一”的理念。是一次对传统和现代的对话，为观者带来新的视角与哲学的启示。