山居荷風 Scenery of Lotus in Mountain
2024-04-16

 Scenery of Lotus in Mountain


      "It is so fun to go out traveling that one almost forgets to come home." "We don't necessarily need musical instruments for music to pop up. We can just listen to the music of nature from the mountains and water." Since ancient times, scholars have always considered the natural landscapes as the spiritual homeland where they could do what they want and enjoy themselves. They could either go hiking or approach the water to see flowers and plants as well as fishes and birds. They could also get some tea, enjoy the moon on the mountain, play chess, and appraise painting as well as discuss metaphysics and Zen. In addition, they could live privately at a secluded place and engage some cultural creation activities such as writing poetry and depicting painting. They could live in seclusion and forget everything from the mundane, just enjoy the innocent landscape. In this way, the mountain life culture had been developed to be an important brand of seclusion culture.

      The early origins of the seclusion culture can be traced back to the late Shang Dynasty and early Western Zhou Dynasty regarding the story of Bo Yi and Shu Qi. They refused to eat food from the Zhou and hid in the mountains. According to “Historical Records - Bo Yi Biography”, after King Wu of Zhou Dynasty settled down the turmoil of the last phase of the Shang Dynasty, the world was dominated by the Zhou. However, both Bo Yi and Shu Qi felt shameful and refused to eat the food produced from the Zhou in order to obey their national righteousness. Instead, they hid in the Shouyang Mountains and only ate wild vegetables." Based on this, the seclusion of Bo Yi and Shu Qi was just a political attitude reflecting their unwillingness to cooperate with those in power at the time. Until after the new generation, seclusion is no longer limited to expressing a personal political attitude. It is more to reflect one's attitude towards life, and also the traditional scholars' retreat after their career failures. As a reformer of Confucianism, Mencius advocated, "When you are not successful, you can cultivate your own personal character. When you are successful, you can make the world better." This is obviously an indication of life direction for later generations of literati. In the history, Zhang Liang, Zhu Geliang, Li Ji, Liu Ji and so on, all could be representative figures who were the prime ministers during the peak of their careers who lived in seclusion during their down time. Tao Yuanming, with his poetry, had also become the most famous hermit in Chinese history. In the late 18th and early 19th centuries of United Kingdom, there were also lakeside poets represented by Wordsworth, Coleridge, and Saosai. They denied urban civilization, longing for sentimentalism, and praising for nature. Perhaps this can also be considered as a foreign country's mountain life culture.

      In this series, I try to express the relationship between the lotus pond and mountain with a more relaxed and comfortable attitude. During the process of my art creation, I have been inspired a lot by the ancient Chinese seclusion culture. On these pictures, I intentionally dilute the image of the mountain and highlight the image of the lotus pond. We can imagine sitting alone in front of the window to watch the scenery of lotus and mountain. We can also imagine walking on the mountain path to see the quiet lotus pond with a distant mountain behind. In addition, we can imagine walking along with a couple of friends on the side of lotus pond to enjoy the view of the mountain and a breath of fresh air. Although the paintings from this series all display lotus ponds and mountain peaks, different lighting effects have been naturally formed due to a diversity in time, weather, and viewing angle.

山居荷風 


“駕言出遊,日夕忘歸。”“非必絲與竹,山水有清音。”自古以來,文人士大夫一直將自然山水視為精神家園。他們行其所行,樂其所樂,或登山臨水,以觀草木魚鳥;或評棋品畫,談玄論禪,以清茗對山月;或結廬而居,吟詩作畫,以暢隱逸之情,俗世塵囂拋之腦後,山水純真自入懷抱,並由此發展出隱逸文化中的重要一支——山居文化。

隱逸文化較早的事實或可追溯至殷末周初伯夷、叔齊不食周粟的事蹟。據《史記·伯夷列傳》載:“武王已平殷亂,天下宗周,而伯夷、叔齊恥之,義不食周粟,隱於首陽山,采薇而食之。”據此而言,伯夷叔齊的隱居,更多的是表現出他們不與當時當權者合作的一種政治態度。迨至後世,隱逸不再局限於表達個人的政治態度,更多的是表達一種人生態度,是傳統文人士大夫仕途失敗之後的退路。作為儒家學說的改良者,孟子倡言“達則兼濟天下,窮則獨善其身”,這顯然為後世儒士指明了人生方向。歷史上張良、諸葛亮、李勣、劉基等人,堪稱達至將相、窮則隱逸的代表人物,而陶淵明則以他的詩作成為中國歷史上最為著名的隱士。而在十八世紀末十九世紀初的英國,也曾出現過以華茲華斯、柯勒律治、騷塞為代表的湖畔派詩人,他們否定城市文明,嚮往唯情論,歌頌大自然。這或許也可視為外國的山居文化。

在此系列中,我嘗試以一種較為閒適而自在的態度去表現荷塘與山的關係。在創作過程中,中國古代的隱逸文化給我很多的啟發。在這些畫面中,我有意淡化山的形象,突出荷塘的意象。想像著或獨坐於窗前,臨窗觀賞荷風山色;或行走於山間小道,看荷塘清幽,遠山雲氣繚繞;或與二三友人漫步荷塘之側,觀山色如娥,賞清氣盈懷。此系列作品所表現的雖然都是荷塘與山峰,但因時間、天氣變化與視角的差異,自然形成了各不相同的光影效果。





翠莖綠葉碧漪中 Green Stems and Leaves in Ripples 2017 年 60×60cm  23.6×23.6in



江蓮輝幽渚 Lotus in Quiet River 2018 年 60×60cm  23.6×23.6in