Transition Scene IV 渡景 04

2022
Ink and color on silk
(L) 65 × 55 cm, (M) 65 × 25 cm, (R) 65 × 95 cm

Exhibition: “Seon1 - Cultural Symbols of Chinese Landscape Painting”, Oi! Street
Commission Project

​Apart from depicting surface features and jagged contours of mountains and rocks, texture strokes also offer a glimpse of the painter's spiritual temperament in their diverse variety. Capturing the structure and volume of the mountains with short and swift texture strokes, the Qing painter Lü Huancheng's Landscape leads the viewer's gaze from bottom to the top through different scenes of the composition. With the
scenic views from the perspective of Lü's Landscape, this Transition Scene IV rearranges the painting into three separate scenes, which are juxtaposed to present "continuous" spatial relationship of the same scenery viewed from different angles, and conveys the artist's feelings about "wandering" in Lü's Landscape with his personalised brushwork. The paintings of the close view (right) and middle-distance view (left) of the landscape are mounted on wooden boards, while the one depicting the remote view (centre) is placed on the base, foregrounding and backgrounding the three planes to produce a spatial effect through the use of foreshortening.
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(Left: Lü Huancheng's (1630-1705), Landscape, collection of Art Museum, CUHK)

​「皴法」不單詮釋了山石峰巒的質感，在皴的變化間亦流露著畫者的精神境界。是次揀選的呂煥成〈山水圖〉以短促明快的勾皴表現山體輪廓，山石的穿梭引導觀者從下而上遊走於畫面的不同時空中。〈渡景04〉將〈山水圖〉的視點重新佈置在三個獨立的場景之中，再並排而置，描寫在不同視點觀看同一境象所呈現「連續」的空間關係，並透過個人筆墨表達於〈山水圖〉遊歷的感受。作品將近景（右）與中景（左）置於木板上，遠景（中）置於基底上，籍著凹與凸的展示方式加強遠近景觀的空間效果。

（左圖：呂煥成（1630-1705）《山水圖》，香港中文大學文物館藏品）