Dunhuang, Buddha figures, celestial palaces, seas of clouds, lotus thrones, the Diamond Sutra… Layer upon layer of scale-like paper forms these images, unfolding like ripples across water. They resemble reflections shimmering beneath the surface, gently disturbed by waves; at the same time, they evoke drifting clouds and mist, shifting and elusive. Like forms appearing in the void, they seem real, yet remain only temporary manifestations. Images emerge slowly between the layered sheets of paper, then quietly dissolve as the viewer’s gaze moves across them.
Recently, Zhang Xiaodong (b.1981) opened his solo exhibition Recluse at Upsilon Gallery. Following his previous duo presentation, this exhibition presents a more comprehensive and striking display of his works, including pieces from his ongoing Dunhuang series. For centuries, the caves of Dunhuang have served as spaces for devout prayer, the preservation of objects, and quiet contemplation. Zhang draws inspiration from the profound spiritual traditions and cultural heritage of Dunhuang.
In the Dunhuang series, the images are composed of layers of dyed xuan paper arranged like scales. Through this accumulation of layers, the scenes gradually emerge – figures leading horses, trees, ancient architecture, and motifs derived from Dunhuang murals. When viewed from the side, the stratified paper resembles rocks and cliffs; the deep brown layers appear like undulating mountain ranges. This intricate technique is known as Dragon Scale Binding. Dragon Scale Binding is a rare and complex form of bookbinding whose history can be traced back to the Tang dynasty (618 – 907 CE). Since beginning his study of bookbinding in 2007, Zhang Xiaodong has gradually developed a distinctive artistic practice that merges traditional craftsmanship with contemporary concepts. In 2010, through his Diamond Sutra project, he revived and reintroduced this historic technique into the field of contemporary art.
In At No Sense 1, 2024, layers of white xuan paper are stacked one upon another, within which the faint image of a Buddha gradually appears. As suggested by the title, the work consists solely of pure white sheets layered repeatedly, without any additional embellishment. From a distance, the Buddha figure becomes clearly visible; from the side, however, it reveals nothing more than stacks of paper. This viewing experience echoes the core teaching of the Diamond Sutra displayed nearby: “All conditioned phenomena are like dreams, illusions, bubbles, and shadows; like dew or lightning – thus should they be contemplated.” The works resonate subtly with one another. Within this exhibition space, beyond Zhang’s refined aesthetic sensibility, what emerges most strongly is the wisdom embedded within the works and the profound tranquility they convey. In this sense, Recluse can be understood as a conscious return to inner cultivation, quietly nurturing humility, compassion, and composure.
Infinity 2 Dunhuang Archives Cave 220, 2024 draws its composition from the classic Dunhuang “preaching scene.” At the center sits the principal Buddha in meditation posture, flanked by attendant bodhisattvas on either side, with a lotus throne and ritual offerings below. The layered pages not only form the body of the Buddha but also symbolize the accumulation of time and the transmission of Buddhist teachings. As viewers shift their perspective, the undulating pages cause subtle changes in the Buddha’s expression and flowing robes, as if the figure itself were gradually coming to life. The work merges the forms of scripture and Buddha image into one, suggesting that “the Dharma is the scripture, and the scripture is the Dharma,” expressing a profound reflection on wisdom and faith. While the pages appear lively in their movement, the overall image remains deeply serene, resembling a deliberate return to inner cultivation.
In Zhang’s work, “reclusion” becomes a way of observing the world. By maintaining a certain distance, one may perceive the world more clearly and understand it more deeply. For Zhang, reclusion represents a state of living. The grotto is both a physical place and a symbolic one – a space where time slows down, memory accumulates across surfaces, and the self is gradually refined through sustained attention.
In the works presented in Recluse, restraint in materials and the quietness of composition reflect this introspective tendency. The forms appear distilled, deliberate, and carefully considered, rejecting immediacy in favor of duration. Within this silent yet active state, humility, compassion, and composure are gradually cultivated.
On March 7th, 2PM-4PM, Zhang Xiaodong will also present an artist talk and performance at Upsilon gallery, offering further insight into his creative practice and artistic philosophy.
Zhang Xiaodong, Recluse – 28th Mar 2026, Upsilon Gallery
Artist talk & performance: March 7th 2PM – 4 PM
