This article examines the contemporary ink practice of Luo Yanlong, arguing that his pioneering style fuses performative action with the classical heritage of literati shanshui painting. Through an “endless splashing and pouring of ink”, Luo embeds bodily movement into the creative act, so that spontaneous, indeterminate flows of ink carry the dynamism and transformation of natural landscape, culminating in the spiritual realm of the “Peach Blossom Land”. Zhu Tong reads this method against Harold Rosenberg’s theory of “action painting” from The Tradition of the New, in which brush, ink and paper become mere materials and meaning emerges in the act of painting itself, dissolving the boundary between art and life. At the same time, the author invokes Guo Xi’s The Lofty Ambience of Forests and Springs, whose organic vision of mountains and waters grounds Luo’s work in tradition. By connecting the microcosm of brush and ink to the macrocosm of nature, Luo preserves the core of shanshui, conveying “vital rhythm” and “spiritual charm” while attaining a cosmic vision of resonant unity with all things.