Starting from Yu Yingshi’s remark that the attitude of “the unity of man and all things under heaven” may carry a transmodern revelation, this essay argues that the Shan Shui spirit can offer contemporary China, and humanity more broadly, a spiritual and cultural homeland in an age of artificial intelligence, globalization and ecological crisis. The author criticizes the equation of Westernization with modernization and, drawing on Yu Yingshi, Chen Yinke and Qu Jingdong, calls for a creative transformation of tradition that absorbs external ideas without forgetting one’s own cultural position. The second part turns to artistic practice. Cliff inscriptions (moya shike) are presented as a “literal landscape” in which writing turned geological forms into literary, ideological and religious sites. On this basis the author describes his own long-term project “Writing the Mountain” (xie shan): an ink practice that reconstructs inscribed texts through “inner observation”, the principle of “regarding blank as black” and mixed materials, producing “images of the heart” that record the temporality of Shan Shui. The essay concludes by proposing a transmodern Shan Shui civilization that sets spiritual boundaries for technology.