Pavilion is Che Jianquan’s solo project that has been operating for over a decade. With a distinctive working method compared to that of his previous art practice, Che digs deep repeatedly into an identical motif in this series. Started from the debut of the first work of the Pavilion series in 2007, the artist has made ten video works for this project, with which creative premise is based on the long-term observation and recording during different time and seasons. Seeing the same pavilion in such a cross-timal manner, Che hopes to eradicate an individually inherent view of the world—namely jneyavarana ( the obstruction of what remains to be known) in Zen Buddhism—that shows strongly self-existence-based thinking and judgment hindering a perception of the infinity of the world. In fact, it is through this selective manifestation that we can sufficiently present the endlessly changing world through the lenses; despite being an obstacle itself as well, this selective manifestation by an undifferentiated viewing has reduced the author’s intervention and has become Che Jianquan’s working method as seemingly doing nothing but viewing, in an attempt to get rid of jneyavarana. As a result, images from Pavilion become multiple sections of the process of manifestation. In repeated presentations, objects or motifs under frequent inspection reveal the original shape of the world. If this original shape could also be seen as some sort of generalizable tendency or style, it must be the world’s multifaceted extension which, relatively, will invalidate habitual experiences and concepts.