彭瑾慧 Peng Jinhui

北宋周敦颐在《爱莲说》中以荷花比喻君子：“中通外直，不枝不曼”，荷花在中国文化中有着丰富的象征体系，同时它也是中国画发展过程中的一个经典母题。在历代文士的吟咏下，荷花从自然物象逐渐演变成了精神性的符号，代表着在污浊中对纯净的坚守，清雅的气质也是净化心灵的媒介。

此幅作品吸收了清代画家恽寿平的没骨画法，传统给予我们的除却程式符号语言，还有虚淡等美学标准和艺术精神，像董源的《夏景山口待渡图》中那种简远、平淡的笔墨，打破了形体对精神的束缚，让画面成了容纳宇宙生机的场所。这种"饰终反素"的美学实践，通过对技法的超脱达成对气韵生动的精准把握，最终在若有似无的形态中，完成了对生命本源的诗性触摸。

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The lotus flower in Chinese culture embodies rich symbolism. Northern Song scholar Zhou Dunyi praised it in“ On the Love of the Lotus ”as an emblem of the noble-minded: Hollow inside and straight outside, unbranched and unramified." As a classic motif in Chinese painting, the lotus evolved from a natural subject into a spiritual symbol through centuries of literati interpretation. It represents upholding purity amidst impurity, while its elegant essence serves as a medium for spiritual purification.  

This painting adopts the “boneless technique”(mogu) of Qing-dynasty artist Yun Shouping.  What tradition has left us is not only those fixed patterns and symbols, but also aesthetic standards and artistic concepts like the ethereal. for example.  Dong Yuan's "Waiting to Cross the River at Xiajingshankou”. The brushstrokes are simple and distant, not constrained by the shape of the objects, but instead making the picture a place that accommodates the vitality of nature. This aesthetic approach of eliminating complex decorations and returning to simplicity, through transcending techniques to precisely capture the essence, finally achieves a poetic touch of the essence of life in the indistinct picture.