From the perspective of creative interaction between text and visual elements, this paper intends to examine how Shi Song (1947 to present, born in Shanghai) translated the images of Guanyin, and Buddhist teachings into text and illustrations to convey his understanding of Buddhist philosophy. His works, including "Notes of Thirty-Three Months," "Notes to Chuan Chuan," and "Song of the Big Tree: Painted Stories of the Buddha". It can be seen that he once influenced by modernism and existentialism, has turned to a deeper understanding of Buddhist philosophy. However, while discussing Buddhist teachings, the author also explores secular troubles encountered by people, such as morality, love, and emotions. Moreover, Shi Song, who considered himself a "craftsman", has a background in fine arts, and is capable of combining calligraphy and painting with text to express a different form of spiritual practice. This paper mainly discusses Shi Song’s characteristics of the use of materials and practical results, as well as the important images in his works. It verifies Shi Song's position in Buddhist writing in Taiwanese religious literature.
