The documentary film starts in Milan where Jean Blanchaert, eclectic artist as well as gallery manager, describes his rapport with India ink to us: where and how he was inspired to work with India ink; what it means to draw with a mark that cannot be canceled: Jean has published three books in which he has drawn portraits with India ink. Eager to approach India Ink art in China, (where despite the name it was invented), Jean, along with a reduced crew, encounters one of China’s most famous Calligraphy Masters, Wang Dongling, who invites him to his studio. Wang speaks to Jean about the act of writing as an expression of the relationship between art and the body, whereupon he illustrates the use of the brush and the movements of his fingertips, wrists, arms and entire body – defining his work as “abstract ink art.” His works are deeply rooted in the ancient philosophies of Buddhism and Taoism, as

well as in Chinese poetry. By combining poetry and painting, Wang creates works in the course of performances in which he renders the texts of ancient Chinese verses into gestural interpretations. The exchange between the twosome gives rise to the possibility of hosting an exhibition of the Master in Italy. Jean however doesn’t find all the answers to the many questions he has brought along with him from Italy: perhaps only at the end of the journey, that pays visits to Hangzhou and Shanghai, after meeting with a host of different contemporary artists will his curiosity be fully satisfied…