而哲學家斯賓諾莎（Baruch de Spinoza）把宇宙的存在，指稱為唯一的實體（substance），它們從中區分「能產的自然Natura naturans」（上帝、宇宙自然）與「所產的自然Natura naturata」（萬物、生命體與物質）兩個面向，把上帝和自然等同起來，生命的創造力量與邏輯，在一個意義上皆來自於自然法則（nature law）的運作，是內在性而非超越性的。
氣 Aura, oil on canvas, 145.5x112cm (80F), 2010。圖/紅野畫廊提供
大宇宙 Universe, oil on canvas, 130x162cm (100F), 2005。圖/紅野畫廊提供
曨曨 Twilight, acrylic on canvas, 38x45.5cm (8F), 2016。圖/紅野畫廊提供
雀 High-spirited, acrylic on canvas, 31.5x41cm (6F), 2018。圖/紅野畫廊提供
在思想背景上，她旅居日本後接觸到約瑟夫．墨菲（Joseph Denis Murphy）的《潛意識的力量》，書中談及對於如何透過心想、內在信念的操練、凝聚，來使潛意識轉換為自我機運的心念法則，將抽象精神力轉化為現實力量，此種觀念使她深受觸動。
凝 Gaze, acrylic on canvas, 60x49.5cm (15F), 2013。圖/紅野畫廊提供
泳 Movement, oil on canvas, 45x53cm (10F), 2005。圖/紅野畫廊提供
鄭瓊娟的創作不依形而摹，強調生命聚散與擴張的過程，「自然並不是一個固定的自身完成之物，可以離開精神而獨立存在，反之，惟有在精神裡自然才達到它的目的和真理。」mdash 黑格爾（G. W. F. Hegel）《小邏輯》
翔 Hover, oil on canvas, 72.5x91cm (30F), 2005。圖/紅野畫廊提供
鴻 Imposing, acrylic on canvas, 60.5x72.5cm (20F), 2014。圖/紅野畫廊提供
頌 Anthem, acrylic on canvas, 41x31.5cm (6F), 2018。圖/紅野畫廊提供
湍 Torrent, acrylic on canvas, 162.5x112cm (100P), 2019。圖/紅野畫廊提供@P
The Nebula of Consciousness and the Universe of Vipassana: CHENG Chung-Chuanrsquos Paintings
In the history of human exploration of the astronomical universe, it was discovered early on that stars that are sometimes formed by ldquoclumpsrdquo, and ldquonebulardquo are generally referred to as ldquoDiffuse nebulardquo, which also represent the process of compaction and expansion from abstract to figurative at the beginning of the formation of the universe.
The philosopher Baruch de Spinoza, on the other hand, refers the existence of the universe to a single entity (substance), from which he differentiates between ldquoNatura naturansrdquo (God or Nature) and ldquoNatura naturatardquo (all things, living beings and matter), equating God with nature. Creative power and the logic of life are, in a sense therefore, derived from the natural law, which is immanent rather than transcendent.
Aura, oil on canvas, 145.5x112cm (80F), 2010. copyPowen Gallery
Universe, oil on canvas, 130x162cm (100F), 2005. copyPowen Gallery
If we take this merging of the created and creation in the immanence to explain the subconscious, ego, spirituality and nature in Cheng Chung-Chuanrsquos paintings, it is indeed the process of transformation from abstract awareness to concrete forms. From the fluidity and spontaneousness of her works, one can feel, in her paintings, the ldquoNebula of Consciousnessrdquo creating lines which took the form of airflow, manifesting as the Universe of Vipassana through different forms of nature and living beings.
Chengrsquos paintings sometimes embody and express through figurative ldquogesturesrdquo, such as plants and flowers, the silhouette of mountains, star trails, clouds, airflow, borders and lines of consciousness. They do not resemble specific plants in the real world, nor are they replicas or re-presentation of a particular natural landscape. They are the ldquoflowers of spiritualityrdquo and ldquothe Universe of Vipassanardquo. Comprehending the abstraction of Chengrsquos painting through the compaction and expansion of the ldquonebulardquo is tantamount to savouring her response to the purely perceptual world from her mental activities and creative process.
Twilight, acrylic on canvas, 38x45.5cm (8F), 2016. copyPowen Gallery
High-spirited, acrylic on canvas, 31.5x41cm (6F), 2018. copyPowen Gallery
Intellectually, during her stay in Japan, Cheng came across The Power of Your Subconscious Mind by Joseph Denis Murphy, in which she was deeply inspired by the concept of how to transform the subconscious mind into the mentality of self-regulation and motivation through the practice of mindfulness, inner beliefs and alignment, transforming abstract spiritual power into the power of actualization.
Gaze, acrylic on canvas, 60x49.5cm (15F), 2013. copyPowen Gallery
In terms of the creative process of her practice, Cheng does not make drafts but rather paints directly onto the canvas when her memories, thoughts or abstract perceptions emerge. Even though there are often elements of nature in her works, she tends to echo the inner universe with the outer nature in her paintings. Through perception, a ldquomental imagerdquo is formed, and this ldquoimagerdquo (a representation of an abstract state of mind) is eventually transformed into a visual ldquoformrdquo (a concrete visual appearance). Without anticipating the final outcome, the initial ldquomental imagerdquo may alter and reshape in the changes of feelings, perceptions or thoughts, as in the case of celestial bodies and nebulae, form or reflect variations of colours due to the different magnetic fields, gravitational forces, radiation and ionisation from nearby high-luminosity stars, or change by the collision of planetary fragments.
Movement, oil on canvas, 45x53cm (10F), 2005. copyPowen Gallery
The artistic practice of Cheng follows not the form but emphasizes the process of compaction and expansion of life. ldquoThe distinction between Nature and Mind is not improperly conceived when the former is traced back to reality, and the latter so fixed and complete as to subsist even without Mind: in Mind it first, as it were, attains its goal and its truth.rdquo Shorter Logic, G. W. F. Hegel. (Friedrich amp Wallace, 1975)
The fullness and richness permeated in her paintings is an expression of Chengrsquos externalisation of her perceptions into a kind of vitality in her inner mind. As for her approach to painting, she retains a particularly keen sense of brushwork, especially manifested in the moments between forms, and when the volume and the background are about to merge. She employs an inwardly rotating style of brushstrokes to express the resonance or uses a painting knife or a fine brush to delineate lightning or fine lines resembling the bodyrsquos nervous system so that the objects in her works clustered into energy masses. They generate, expand, burn, crumble, externalise and contract, in a single cluster of cyclones, connecting and converging into the universe of the painting as a whole.
Hover, oil on canvas, 72.5x91cm (30F), 2005. copyPowen Gallery
Chengrsquos paintings are often ldquopartialrdquo in perspective, with an expansive manner in terms of their richness in the resonance of fluidity and essence. The way she depicts living beings is usually expressed in two different ways: the first is a gentle brushwork akin to smoke, air and feathers, expressing the formlessness of life obscured in the sky the second is the use of a brush dipped in paint, through the ldquorobustrdquo and ldquoheavyrdquo brushwork of dragging and dotting, symbolises the expansion of consciousness, which grows and transforms into the state of individual life in the universe as a whole and in the void.
Imposing, acrylic on canvas, 60.5x72.5cm (20F), 2014. copyPowen Gallery
Anthem, acrylic on canvas, 41x31.5cm (6F), 2018. copyPowen Gallery
Cheng Chung-Chuanrsquos art reverberates earnestly her belief in the ldquofreedom to pursuerdquo and ldquoa substantial mentalityrdquo of her life journey. Through the interaction between ldquothe Nebula of Consciousnessrdquo, which is a reflection of the whole of life, and the ldquothe Universe of Vipassanardquo, which is a response to the individual, the two are expressed as a dynamic unity of life, leading to a traversal of spiritual imagery.
Torrent, acrylic on canvas, 162.5x112cm (100P), 2019. copyPowen Gallery
 Friedrich, H.G.W. and Wallace, W. (1975) Hegelrsquos logic. Oxford: Clarendon Press.