This work organically integrates the modern symbol of eyeglasses with the traditional image of Ruyi Guanyin to express the connotation of perpetual wisdom and the awakening of the inner state. The designer employs the dharma-teaching gesture as a prototype, metaphorically rendering the gesture in the form of eyeglasses to elucidate the philosophical proposition, “Viewing the world through the Dharma, as a mirror remains empty of all things.” This approach aims to demonstrate that wisdom relies not solely on the presentation of external symbols but also on the reflection of inner emptiness and self-contemplation.

Concurrently, the “view” held by the other arms—interpreted as a modern ocular instrument—along with the incorporation of two Bodhi trees and the element of flying birds, constructs a multi-layered visual narrative. This combination is intended to resonate with the Zen concept that “Bodhi is not inherently a tree, nor is the mirror merely a stand,” thereby suggesting that all things, like dust, ultimately return to emptiness. Overall, the composition, through the dialogue between traditional cultural symbols and contemporary design language, stimulates a multi-dimensional contemplation of Buddhist notions of emptiness and the expression of wisdom.