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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
Process photograph, Taitung Art Museum, Taitung, Taiwan, 2021.
過程影像-2021年台東美術館
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Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
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Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
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Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
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Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
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Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
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Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
Process photograph, Fo Guang Shan Buddha Museum, 2022.
過程影像-2022年高雄佛光山佛陀紀念館
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Installation view
展場照
Installation view
展場照
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Installation view
展場照
Installation view
展場照
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Installation view
展場照
Installation view
展場照
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Installation view-Documentation of performance art
展場照-過程影像
Installation view-Documentation of performance art
展場照-過程影像
Shi Jin-Hua
Ink Walking, 2021-2022
Ink and water on embryo cloth, alms bowl, water bottle, white clothes and trousers, photographs, videos (color, with audio), and document.
163 x 1200 cm (embryo cloth)
Φ9 x H 32 cm (water bottle)
Φ17 x H 9 cm (alms bowl)
91 x 74 cm (white clothes)
102 x 50 cm (white trousers)
47 × 66.5 cm, 18 pcs (process photographs)
8′38″ (video)
29.7 x 21 cm (document)
Φ9 x H 32 cm (water bottle)
Φ17 x H 9 cm (alms bowl)
91 x 74 cm (white clothes)
102 x 50 cm (white trousers)
47 × 66.5 cm, 18 pcs (process photographs)
8′38″ (video)
29.7 x 21 cm (document)
Edition of 1 plus 1 artist's proof
Further images
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Artist Interview Videos
WU Chao-jen (Curator):
WU Chao-jen (Curator):
In this performance work, Shi Jin-Hua holds a bowl filled with black ink. As he walks, each time ink spills, he adds clear water to the bowl. The performance continues over several days, until the ink is fully replaced by clear water.
The original inspiration comes from a Buddhist parable, in which a condemned man is given a chance at pardon by carrying a full bowl of oil from the south gate to the north gate of the city—on the condition that not a single drop is spilled.
The story emphasizes the discipline of sustained concentration. In Shi’s version, the transformation of black ink into clear water suggests something more: a passage from impurity to clarity, from defilement to purification.
文｜策展人 吳超然
在這件表演藝術作品中，石晉華手持著一個裝滿墨水的缽，然後在不斷行走的過程中，只要墨汁溢出，他就會補上清水；整個表演持續數日，一直到缽中的墨汁完全被清水取代。
《墨行》典故原本出自佛經，述說一位重刑犯被國王要求，只要持著一個油缽從城南走到城北，沒有任何一滴油潑澱出來即可獲得赦免刑罰。
此一故事的重點在於：修行時的專注。但是，石晉華手持的缽中墨汁最後轉為清水，也暗示著一個從有瑕疵到純淨的過程。
https://youtu.be/KwCaDfl35Ts?si=JU-5jcLFP4ub1P9J
Exhibitions
2023 “Hengshan Calligraphy Biennial: Era of Principle and No Principle Interwoven—Calligraphy as a Visual Form”, Hengshan Calligraphy Art Center, Taoyuan, Taiwan2022 “A Drop of Water from Caoxi: Shi Jin-Hua – 2022 Buddha’s Birthday Exhibition”, Fo Guang Yuan Art Gallery, Kaohsiung, Taiwan
2021 “The Rocks Return to Soil Where the Heart Belongs”, Taitung Art Museum, Taitung, Taiwan
2023「2023 橫山書藝雙年展：法與無法交織的年代—書法作為一種視覺形式」，橫山書法藝術館，桃園，台灣
2022「曹溪一滴•石晉華—慶祝2022國定佛誕節特展」，佛光緣美術館 總館，高雄，台灣
2021「石落心田 終歸大地-石晉華個展」，台東美術館，台灣
Literature
2020 NI, YU-AN “Spirit and Sequence: On Shi Jin-hua's Walking-Pencil Art and Practice”, “Art Accrediting” no.90 (2020.02),2020 倪又安 〈靈光與次第—略論石晉華的走筆藝術與修行〉｜《藝術認證》No.90（2020.02）