Through A Millennium 穿越
创作理念：
金陵圖原系宋院本，記宋代金陵城及周邊繁盛風貌，秦淮汨汨、通衢熙熙，步移景異，一片太平盛世歌舞昇平之象。
原作已佚，清宫廷畫家馮寧奉旨於乾隆五十九年臨摹，作紙本金陵圖，收入石渠寶笈。清末民初流出清宮，此後輾轉落入民間私藏，二零一五年十月重現香港保利秋拍，高價落槌，有説落戶金陵。
有幸得覽馮寧金陵圖，震撼莫名。宋畫我所鍾，睹眼前長卷不禁神馳千年。當年宋版景物何樣？心願頓生：借馮寧清版，仿宋人筆意，續千年香火。
此後兩年半，九米長絹，數管秃筆，數不清夜䦨人靜孤燈作伴，幾度擱筆，終成此作。
畫成，茫然若失，但得一終身受用之感悟：靜，存乎心，不必在山水之間。幸福安逸在於祥和，生命祥和在於寧靜，心之寧靜在於少欲。無意於得即無失之虞，得失皆安逸。鬧市間繁華似錦卻難免爭名奪利；田園無爭卻有柴米之憂，所謂世外桃源祥和昇平卻終究南柯一夢。心靜，則萬象皆靜；知足，則拾來盡是愉悅。
藝無止境，始於此卷...
The original Jinling Story was created by an artist serving in the imperial court of the Sung Dynasty. It depicted the prosperous city of Jinling (now Nanjing) and its suburb around AD 1000. As the scroll unfolds, a meandering Qinhuai River and a bustling main street tell the story of a dynamic city.
The original work had been lost. In 1794, Feng Ning, an artist of the Qing court, was instructed by Emperor Qianlong to recreate the work on paper. The painting was taken out of the Forbidden City in the early years of the Republic and found its way to a private collection. In 2015 it was auctioned by Poly Auction in Hong Kong. Reportedly the painting is now in Nanjing.
I was stunned by Feng’s work when I first saw it. I have always been attracted to Song paintings. The sight of the scroll carried my thought back to 1000 years ago. It inspired me to ride on Feng’s work and reconnect with the Song artist.
Two and a half years, 10 metres of silk, a few brushes, countless sleepless nights — interrupted by several struggles — that’s all it takes to complete the work.
The very last stroke ended with a sense of loss. But the gain is enormous, for I came to realise that serenity resides in the peace of mind, not necessarily in the beautiful landscape; and that peace of mind comes from the elimination of desires.
This scroll marked the beginning of my art journey.
創作理念：
「渡」到彼岸，是人永恆的願望。生命的脆弱和短暫，人生裡的爭鬥和期盼，都將指引我們尋求一條能夠渡到彼岸的小船。一個能安頓生命的場所，哪怕是短暫的，虛幻的。人是在對彼岸世界的期望中活著，沒有人不是「待渡人」，期望被「渡」，等待機緣來「渡」。
"Crossing" to the other side, is the eternal desire of people. The fragility and brevity of life, the struggle and expectation of life, will lead us to a state of seeking to reach the other side. A place where life can be settled, even if it is temporary and illusory. People are living in the expectation of the other side of the world, there is no one who is not "waiting for the ferry", expecting to be "crossing", waiting for the chance to "cross".
創作理念：
獨自樸實祥和莊重，蒼勁有力卻淡然自若，看慣亂雲飛度，這就是無需註解的松中世界。
A pine epitomises grace, dignity, and resilience. Its wrinkling bark tells the story of a learned and experienced old man. Yet its uncompromising spirit, deeply rooted in morality and principles, displays a rare sense of solitude in this populist world.
創作理念：
藝術是一場生命自我演化的體驗和互動，也是一種曠日持久夸父逐日的尋求。選擇這條路的人一定懂得用「藝術語言」描述所思所想，並將其化作獨特的「語境」彰顯自己的性格。
這幅「暗香」算是這段疫情期間心中期盼的折射吧，希望把「枯木逢春」、「絕處逢生」、「老樹新芽」、「柳暗花明」狀態表達出來。新水墨手法和傳統工筆的結合也是我想借助的形式，希望在這個處處見無常、時時存生滅的時空裡把那個不與凡桃俗李爭艷、沁人心脾的幽幽冷香化作一種期盼和憧憬。
Who doesn't want to see spring bloom? Who doesn't yearn for the moment when everything comes back to life? Step snow to seek plum, seek is not only a wisp of fragrance, seek is not only a spring, more time, what we seek is an elegant, a kind of belief and a hope. Only rely on the new bud of the old plum to express this vision to me.
創作理念：
北宋畫家郭熙曾說：「水欲遠盡出之則不遠，掩映斷其流則遠矣。（林泉高致）」意思是當我們畫水的蜿蜒向前流淌時，畫面的限度無法令我們表達下去，而在有限的畫面裡若將水用一叢樹林遮擋，使人感到余味無窮，水有盡而意無盡。此話真是意味無窮！畫今天的「波濤洶湧」，畫今天的「大風大浪」，畫人生需要面對的艱難困苦，畫處之泰然的優雅心境，何需將呼之欲出的浪花過分渲染？何苦糾結江水的不夠綿延？只要看看那靜靜啓立在浪尖的蝴蝶，只要體會它面對風浪的平和姿態，我相信你已明我心了吧？
英文：
Life is a sea voyage. For sure we enjoy smooth sailing. But life is defined by the moments of rough seas and how we rise to the challenge. Look at how that little butterfly is playing with the waves.
創作理念：
生命的日子裡，你可否遇到這樣的時刻？一切如被雲霧繚繞，殘留的一點縫隙也不能滿足自己暢快的呼吸，彷彿一切沁在黑暗裡，光在眼前但心卻窒息。
中國有句古話太智慧了：天無絕人之路，柳暗花明又一村.....這些智慧的總結似乎就是告訴我們：「上帝即使關上你所有的門，但一定會給你留下一扇窗！」不是嗎？那扇窗只要你肯去尋找，只要你願意去發現，它一定在某時某處等著我們，幸運的你也必將因為那份努力找到繁花似錦的世界！而那一刻，你的蛻變也會完成，自由的空氣必會飄縈在我們身邊...
Imagine this scene : enveloped in cloud and mist, suffocated, you are struggling to reach for the silver lining.
As the saying goes : when one door closes, another will open. Go look for the skylight that’s awaiting you, and a new world is beckoning.
創作理念：
世界有多大？心有多大他有多大！世界有多遠？祥雲伴身邊，生命可以無邊...我們雖然活在一個桎梏的空間裡，無處去也無力移，但又怎能不信萬古江山依舊在，滔滔海水又多幾滴？
這個世界充滿着奇妙，每一步都有刺激，糾結、好奇、感動、驚喜.....像個孩子一樣把世界重新審視，原來單純的人生底色裡世界最美麗！永遠像孩子一樣童心依舊在，生活才有趣。
How big is the world? How big his heart is! How far is the world? Xiangyun with side, life can be boundless... Although we live in a shackles of space, nowhere to go and unable to move, but how can we not believe that the ancient Jiangshan still in the surging sea and a few more drops?
This world is full of wonderful, every step has the stimulation, the tangle, the curiosity, the touching, the surprise..... Like a child to re-examine the world, the original simple background of life in the world is the most beautiful! Always like a child childlike innocence is still in, life is interesting.
創作理念：
國人有一句形象化的話：池中無魚蝦自大。
藝海無涯，當知山外有山。常懷謙卑之心，但不忙鴻鵠之志，奮力在大海游弋，在風浪中成長。
There is a Chinese dictum for those full of themselves : the shrimp becomes the chief in a pond without fish.
The world of art knows no bound. A dose of humility, strong will, and hard work — even a shrimp will conquer the waves.
創作理念：
一直比較重視在藝術探索路上的「自我剖析」問題。正所謂：「大道隱於小成」，在這條路上總會遇到各種問題、也經常產生各種愉悅感，尋求「大道」之路才是真正的目標。
一生路上的各種風景...「老蟹」已明，孩子們天真無邪的玩耍絲毫不影響老蟹的研究和探索，生命的一道「美蟹宴」需要持久和熾熱的匠心，燃燒自己最終成就「美味大餐」，也是目前唯一可以力所能及的事了...
Self-reflection has long been guiding my pursuit of art. Obstacles abound, yet there’s no lack of joy. What matters is the relentless quest for The Way.
The “Old Crab" knows the tricks well — after all, he has seen it all. He would not be distracted by the kids. He’s absorbed is his own world of curiosity and reflection.
Perseverance and artisan spirit is all that it takes to create a “crab feast” — his last and self-fulfilling contribution through baptism of fire.
創作理念：
有感於古詩陶淵明的《归园田居·其一》，詩句耐人尋味，意念悠遠：
「少無適俗韻，性本愛丘山。
誤落塵網中，一去三十年。
羈鳥戀舊林，池魚思故淵。
開荒南野際，守拙歸園田。
方宅十餘畝，草屋八九間。
榆柳蔭後檐，桃李羅堂前。
曖曖遠人村，依依墟里煙。
狗吠深巷中，雞鳴桑樹顛。
戶庭無塵雜，虛室有餘閒。
久在樊籠裏，復得返自然。」
詩句將陶淵明厭惡官場渴望自由的心境表達的淋漓盡致。歷朝歷代都有迫於無奈要在世俗和約束中隱忍自己的人，而他們對回歸故里、熱愛自由的追求總是特別感人，尋找初心、努力釋放正是好好活著的一種精神。
故宮博物院收藏了一幅宋畫「馴禽俯啄圖」似乎也有同意，是不是此圖的作者也有感於陶淵明的這首詩呢？世界本混沌，但是如果用一顆清澈的心去審視，也許一切都變得透明而爽朗了.
This painting pays tribute to a poem and a Song painting.
The poem was written by Tao Yuanming of Jun dynasty, who grew tired of being a mandarin and retreated into country life. In the poem Tao depicted, among other things, a caged bird yearning for home and freedom.
The Palace Museum has a Song painting called "A Tamed Bird With Its Feed”, which seems to echo Tao’s poem.
This is an echo from the 21st century.
創作理念：
現代人的生活已經無法離開手機了，裡面眾多的信息和資料徹底充斥了生活，那些可愛的Emoji也讓每一條信息多了幾分情趣，生活的情趣點點滴滴可以匯成河，而手機的幾個水果表情符號也激發我畫了這本特別的書，有點「看圖說話」的味道，但是更希望的是保留那份童真的情意。
What is modern life without a smart phone? Emojis are adding colours (and feelings) to text-based messages. Have you got the message of this “comic book”?
創作理念：
一場疫情令世界停滯了，一切似乎歸於靜寂，但內心卻翻騰暗湧、糾結掙扎着，猶如漂浮在空中的一塊雲，隨風蕩漾、幾近傾斜...然而我相信每個人其實都在用心書寫着自己的生命之書，都在努力用真誠和善良詮釋自己的人生價值，不願在無奈的命運中隨波逐流,而是在不屈不撓的各種環境中頑強抗爭……然而書翻轉後是「文字」的滑落，人生翻轉後我們會有什麼能留下呢？
An epidemic has brought the world to a standstill. Everything seems to be quiet, but the heart is churning and struggling, like a cloud floating in the sky, rippling with the wind and almost tilting... However, I believe that everyone is in fact writing their own book of life, are trying to use sincerity and kindness to interpret their own life value, do not want to drift in the helpless fate, but in the indomitable in a variety of environment tenacious struggle...... However, after the book turns over, the "text" falls off. After the life turns over, what can we have left behind?
創作理念：
平和的接受生命之書不停的翻閱，但要用吞日的勇敢去面對生活，漸漸明白原來這是一種生活態度。
Peaceful acceptance of the book of life kept reading, but to swallow the brave to face life, gradually understand that this is a kind of attitude to life.
創作理念：
牛年的一幅賀歲畫之一。
One of the New Year pictures of the Ox.
創作理念：
牛年的一幅賀歲畫之一。
One of the New Year pictures of the Ox.
創作理念：
豬年的一幅賀歲畫之一。
One of the New Year pictures of the Pig.
創作理念：
豬年的一幅賀歲畫之一。
One of the New Year pictures of the Pig.
創作理念：
豬年的一幅賀歲畫之一。
One of the New Year pictures of the Pig.
創作理念：
鼠年的一幅賀歲畫之一。
One of the New Year pictures of the Pig.
創作理念：
一個週末在公園裡看到這樣一個場景：一隻大蝸牛緩緩的爬在樹上，青綠色的身體隱隱露在外面，不仔細看以為是樹上的青苔。多麼聰明的小動物！知道這棵樹最安全，不會爬去旁邊白色的樺樹上。
自然界的保護色多麼完美，人間又何嘗不是如此呢？有的人用和顏悅色的態度對待你，你又知道笑容裡有多少真誠的關心？
但是即便如此，我覺得還是應該對那層保護色淡然處之吧，就像如果我們把這隻蝸牛帶回家，離開了自然的它怎會更好的活下去呢？
A weekend in the park to see such a scene: a big snail slowly climbing on the tree, green body faintly exposed outside, do not look carefully thought it was the moss on the tree. What a clever little animal! Knowing this tree is the safest, not to climb into the white birch next to it.
Nature's protective color is so perfect, so is the human world? Some people treat you with a pleasant attitude, you know how much sincere care there is in the smile?
But even so, I think we should be indifferent to the protective layer, like if we bring this snail home, without the nature of how it will better live?
創作理念：
花若盛開，蝴蝶自來。萬花之中的一朵只有靠獨特的魅力和色彩才能吸引美蝶鋪面，生命中的一切所願，其實更多的是平和追求下的吸引。
If the flowers bloom, the butterflies will come. Only by its unique charm and color can one of the flowers attract the butterfly shop. In fact, all the wishes in life are more attracted by the pursuit of peace.
創作理念：
或許有圍城？或許有輪迴？生命此種幻象出現在瞬間，值得思考的是：世間無物的一切，都是浮雲下的一場場分割？
A siege, perhaps? Or reincarnation? Maybe. The illusion of life is instantaneous and transient. What we see, is it not an endless display of division and elimination?
創作理念:
如池塘裡的藍蝶一樣悅人眼目，如茫茫世間中的一道光，清澈的身軀、耀眼的光芒。
Like the blue butterfly in the pond, like a light in the vast world, clear body, dazzling light.
創作理念：
用餐巾紙、用棉花棒輔助毛筆繪畫出一幅布本水墨山水夢象，見山是山固然是錘鍊，見山不是山或許是另一種理解，探知藝術永遠在路上。
Using napkins and cotton sticks to assist the brush to draw a dream image of BuBen ink landscape painting, seeing mountains is mountains is no doubt to exercise, seeing mountains is not mountains may be another understanding, exploring art is always on the way.
創作理念：
想起宋代周邦彥的一首詩：「燎沉香，消溽暑。鳥雀呼晴，侵曉窺檐語。葉上初陽幹宿雨、水面清圓，一一風荷舉。故鄉遙，何日去。家住吳門，久作長安旅。五月漁郎相憶否。小楫輕舟，夢入芙蓉浦。」
當年的詩人想到遙遠的故鄉，思鄉而不能歸，作詩希望夢中回到過去的荷花塘，如今我用畫此「瀟瀟風雨中的荷塘」的方式紀念此詩也算一種淨化心靈的方式了吧。
Thinking of a poem by Zhou Bangyan in the Song Dynasty, he used the poem to miss his distant hometown, homesick and could not go back, and made a poem hoping to return to the past lotus pond in his dream. Now I use the way of painting the lotus pond to commemorate this poem is also a way to purify the soul.
創作理念：
人的可貴之處也許正在於懂得對生命的警悟，自我覺悟，自我哀嘆，從天地萬物哀起，直到對現實生存的沉思！而這份醒悟恰恰是焦慮於時光飛逝，感知生命趣味，回顧恍惚幽渺的過程。
所以每到秋天，一個「恐美人之遲暮」的季節來臨時，自然而然的感覺到：時光空蹉跎，悲從心中來，一份秋的力量就深深的壓在筆下，歲月無情的知會其實早已無需正式通知了...
隨著時光飛逝人們往往茫然不知世界已在一種變化中前行，我們也許被外在的虛幻世界籠罩着而不知實質存在的意義，那種「前不見古人，後不見來者，念天地之悠悠，獨愴然而涕下」的孤獨感只有「秋」可以提醒出來，「飄若風塵逝」不正是每個人都會面對的景緻嗎？
既然生命就是這樣脆弱，時光就是這樣蹉跎，惟有精神掙脫束縛，過種「遊仙」般的生活，筆就成了最好的工具留下這些秋意綿延。
Perhaps the value of people is in the understanding of the life of the alert, self-awareness, self-lamentation, from the heaven and earth sorrow, until the reality of the survival of meditation! And this chant is precisely anxious about the passage of time, feel the interest of life, look back on the misty process.
So every autumn, naturally feel: time wasted, sad from the heart, a strength of autumn on the deep pressure in the pen, years of ruthless informed actually already without formal notice...
Along with the time flies people tend to be at a loss the world has been a change in the forward, we may be external hanging in the virtual world and real existence, that kind of "not see the ancients before, and after see newcomers read heaven and earth leisurely, alone and cried" loneliness only can remind out "autumn", "gone with the wind if dusty death" not everyone will face the scene?
Since life is so fragile, time is so wasted, only the spirit to break free, live a kind of "fairy" like life, the pen has become the best tool to leave these autumn ideas.
創作理念：
安禪未必需山水，滅卻心頭火自涼。畫蝶一刻已是心靜之時。
Anzen without the need for landscape, but out of the heart fire from the cool. The moment of painting a butterfly is the moment of peace of mind.
創作理念：
莊子和惠子在濠梁上的辯論已家喻戶曉，「子非魚，安知魚之樂？」這一名句也為世人所津津樂道，而莊子的回答—「子非我，安知我不知魚之樂？」似乎也將哲學上升到另一個高度，正像朱良志先生的總結：游魚之樂的思維是一種會通萬物的思維，在詩意的心靈中，打通「我」與世界的界線，通世界以為一。這個理論也因此影響了中國美學的思維軌道。
莊子终其一生追寻人如何超越滚滚红尘的问题，他深知人不可能脱离世而存在，身体永远无法实现自由，而精神可以。因此，庄子追求的是人的精神如何达到真正的自由和逍遥，如何进入一种「坐忘」的境界。
在眾多的藝術領域，游魚之樂的思維已經深深滲透在作品裡，毋須用常理來判斷和分析，借物抒情，借景舒意也毫無疑問的變成完成作品的一種簡單手段，而一切視覺存在也緊緊應該是表達「內心」思索的手法而已，所以「創作的體驗過程才是真正的藝術之樂」。而創作的過程如果能到達那個常人難以企及的「坐忘」境界的七個階段——「信敬、断缘、收心、简事、真观、泰定、得道」？我覺得又何必糾結於此呢？超越自己的那一刻不就是超越滾滾紅塵進入灑脫無我的漫妙世界的一刻嗎？所以，如果你問我「魚兒無水還能樂嗎？」回答也只有一個：「此刻樂在其中。」這就是我的「無水之樂」階段。
To bridge the boundary between "me" and the world with poetic mind and become "the thinking that connects all things" has been influencing the thinking track of Chinese aesthetics.
Human body cannot achieve real freedom, but the spirit can, in the field of art creation, therefore, no need to use common sense to judge and analyze, borrowed lyric, borrow scene shu means also no doubt become a complete works of a simple method, and all the visual expression should be just "heart", so "the experience of creation process is the real art of music". So if you ask me, "Can fish be happy without water?" There was only one answer: "It's fun at the moment." This is my "joy without water" phase.
創作理念：
想飛出去看看的心情無以言表，如果鰭可以作翅膀，尾如清風吹起的髮梢，自由隨即來到。
It is indescribable how much I want to fly out and see. If fins can be wings and tails like the ends of my hair blown by the breeze, then freedom will come.
自刻印章入畫作品：
創作理念：
通過篆刻看到了方寸之間的力量，用印章畫畫帶入一種新嘗試。小小的印章做為畫中的主角把一切貌似不可能變為可能。
Through seal cutting, we can see the power of each square inch, and use seal painting to bring a new attempt. The small seal as the main character in the painting makes everything seemingly impossible into possible.
自古國畫的印處於一種邊緣角色，通常在角落、攔腰處或者簽名後面...有款尾印、布局印、壓角印、攔腰印等名稱，自從學習篆刻後，深深體會到印章的作用以及方寸之間包涵的書法美學和審美判斷，感受到博大精深的文明傳承。因此希望此幅作品希望以讓印章為主角，將繪畫和印章以及書法重新組合。
The seal of ancient Chinese painting is in a marginal role, usually in the corner, the waist or behind the signature... Since learning seal cutting, I have deeply realized the function of seal and the calligraphy aesthetics and aesthetic judgment contained in the square inch, as well as the extensive and profound civilization inheritance. Therefore, it is hoped that this work will take the seal as the protagonist and recombine painting, seal and calligraphy.
