荷風抱月 Embracing the Moon in Lotus Pond
2024-04-17

Embracing the Moon in Lotus Pond


        "A bright moon with thousand volumes of poetry". After the long-term tempering of numerous literati and poets, the "moon" with its unique characteristics, has become an important symbolic image of Chinese culture.

        Regardless of the rise and fall of the world as well as the change of dynasties, the moon is still constantly brigt and clear. "Life is endless from generation to generation, only the moon on the river is always the same year after year". The bright moon is infinite and the beautiful scenes are countless, while life is short "as morning dew". Only by devoting myself to the art that I love, spiritually touring in the boundless moonlight and lotus fragrance, thinking with the concentration of thousands of years, generalizing the vast world into the image as well as blending all kinds of things on earth under the pen, these often make me forget all the worries and get temporary detachment in the aesthetic pleasure.

       Auguste Rodin once said, "The nature seen by the artist is different from the nature in the eyes of ordinary people." In the time with the lotus and the moon, the moon is no longer just a distant planet, while the lotus is no longer only a gentleman among the flowers. They are all my close friends and confidants. The poetic language is used in this series of paintings to depict the poetic moonlit night in the summer lotus pond. With water as the soul, each work seems to be immersed in the water through the infiltration and blending of water, with a fresh breath. The picture is soft, moist, hazy, implicit and fresh, with the moon shining everywhere. As Zhu Ziqing wrote in the "Moonlight in the Lotus Pond", "The moonlight, like running water, flows quietly on this leaf and flower. The thin mist floats in the lotus pond. Leaves and flowers seem to have been washed in milk. They are also like a dream with a light veil." I have tried my best to produce a feeling of blending with each other. Between reality and dream, it creates a kind of special charm that makes people drunk and a kind of artistic conception of beauty with a combination of spirit and form as well as rich imagination.

        In this series of expressing meaning with objects, the pursuit of the inner spirit and aura is applied to watercolor painting. These spirits and auras are embodied in the presentation of the artistic conception of poetry. It seeks the ethereal, far-reaching and virtual reality of artistic connotation in the romantic and unrestrained artistic conception, in order to explore an extraordinary realm of national combination of poetry and painting.

荷風抱月 


“一輪明月萬卷詩”。經過無數文人騷客的長期錘煉,“月”以其獨有的特質,成為中國文化的一個符號化的重要意象。

人世興衰,朝代更迭,明月皎潔,亙古不變,“人生代代無窮已,江月年年只相似。”明月無窮,美景無限,而人生短暫,“譬如朝露”,唯有投身於我熱愛的美術,在無邊的月色荷香中神與物遊,思接千載,籠天地於形內,挫萬物於筆端,往往令我忘卻了所有煩憂,在審美的愉悅中,得到了暫時的超脫。

羅丹曾說“藝術家所見的自然。不同於普通人眼中的自然。”在與荷與月在一起的時光裡,月不再只是一顆遙遠的行星,荷也不再是只可遠觀的花中君子,它們都是與我靈犀相通的知己好友。這一系列畫作用詩化的語言描繪夏日荷塘裡充滿詩意的月夜,以水作魂,通過水的滲化、交融使每件作品都似乎是浸泡在水中,氤氳著一股清爽鮮嫩的氣息,畫面柔美、潤澤、朦朧、含蓄、清新,處處都閃爍著月亮的清輝。正如朱自清在《荷塘月色》中所寫的:“月光如流水一般,靜靜地瀉在這一片葉子和花上。薄薄的青霧浮起在荷塘裡。葉子和花仿佛在牛乳中洗過一樣;又象籠著輕紗的夢。”我盡可能讓畫面給人以水乳交融的感覺,在虛實之間創造出一種令人微醺的特殊風韻,一種神形兼備的、富有想像力的意境美。

這一系列緣物寄情,把對內在精神、氣韻的追求運用於水彩畫中,將這些精神和氣韻體現在對詩的意境的呈現,在浪漫瀟灑的意境中去尋求藝術內涵的空靈、深遠與虛實,以探索一種民族化的詩畫結合的不凡境界。



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