高贵与欢庆的和旋 ——云龙子先生风水画作推介辞（罗福腾副教授）

高贵与欢庆的和旋
——云龙子先生风水画作推介辞

喜值云大师风水画作“高贵与欢庆的和旋”大型展览隆重举办之际，笔者有幸受邀先睹多幅风水画作。忝列文化教育界多年，编辑过数本美术类教学材料，便遵嘱写几句推介性的话语，以期与方家分享个人对大师风水画作的认识和心得体会。

风水，乃中华文化传承了千百年的重要信仰之一。云龙子先生耕耘这一领域多年，具有丰富的理论和实践经历。大师由此前实体的风水地理堪舆，扩展到精神范围的风水画作创作，不仅体现出大师勇于探索、不断进取的追求，而且展示了大师的多才多艺、聪慧超人的才干和能力。

进入大师风水画作的题材，全部都是承载幸福、吉祥、圆满等深刻寓意的幸运之物，有孔雀开屏、有凤凰于飞、有神龙在天、有松鹤延年，更有其他充满美好象征意义的莲花、葫芦、灵芝、牡丹、兰花、百合、岁寒三友等植物。这些入画的吉祥之物，可以跟主人的家居风水一起，营造出和谐、温馨、高贵、欢庆的氛围。无疑，此乃上佳的创意与构思。

大师展出的这些作品，具有鲜明的艺术特点。

首先，画作技法与众不同。常见的风水画作，多数为单一的中国画技法或者西洋画技法。而在中国画中注入西洋画法、在西洋画法中注入中国画的技巧，熔东西画法入一炉，云龙子大师做了有意义的尝试。几十年来，美术界的专业画家，不乏尝试中西画法融会贯通的实践，效果也很好。但是，在本区域风水画作中，敢于引入东西画法的画家，还是凤毛麟角、寥若晨星的。大师分享说，他注意到中国画单纯使用水墨作画的局限，也注意到西洋画单纯应用油漆的不足，他要试验怎样把墨韵与油漆二者搭配在一起，来达致中西合璧的效果。无疑，大师的思考是深邃的，实验是可行的。据说，要完成这样一幅画作，通常是花费很多时日的，而且常常是多幅画作轮流操作。例如，此幅画作开始打头遍底色，彼幅已经进入中期描绘。等此幅画作各类色彩干透，彼幅画作已进入金箔贴粘阶段。如此循环往复、夜以继日，直至最终定型、装裱完成。作为局外人，我们通常只专注于欣赏画作的美妙，很少会理会画家倾注于画作的时间、精力、体力的。

其次，云龙子先生的风水画还有一个令人为之振奋的特点，即金属元素入画。为了达到不同光线下的艺术效果，大师特意使用金箔、银箔、铜箔三种金属，来粘贴进画作里的不同的目标物上。例如，寓意福禄的葫芦画作，画家在每个葫芦的外表分别贴上金箔、银箔；在下方的花朵上，贴上铜箔。在孔雀开屏的画作中，角落里的牡丹花上粘贴上了金箔，与中间的大片修长的羽毛形成对比。当观赏者站立在不同位置欣赏画作时，受光线强弱的影响，不同位置的金箔、银箔和铜箔，折射出不同的光彩效果，使平面的画作具备了上下、高低、左右、远近不同的立体现象。可谓“横看成岭侧成峰，远近高低各不同”。大师将金属元素引入美术画作的努力与试验，一定是引领潮流之先的吧？

画家的追求是无止境的。为了追求奇、异、迷、幻的效果，云龙子先生还在画作中加进了多种荧光粉，以期夜晚时分在紫外线灯光下，画作会出现与白昼完全不同的艺术效果。果真，白天画作的画面色彩，在紫外线灯的照耀下，呈献出绿色、蓝色、白色、黄色熠熠生辉的梦幻景象， 完全不同于白天自然光线下的画面布局和色彩效果！看，一幅画作，融入多种元素，得到的是多重效果，云龙子先生做到了！

当然，尝试并不意味着成熟；美术创作是永无止境的追求。
我们期待云龙子先生更多的美术作品面世，受惠众人，受惠学林！

罗福腾副教授
中文部主任
新加坡社会科学大学
2017年4月8日

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The Symphony of Prosperity and Elegance:
On Master Yun Long Zi’s Feng Shui Paintings

It was with much gratitude that I was invited to view Master Yun Long Zi’s paintings, as he prepared for his art exhibition “The Symphony of Prosperity and Elegance”. Despite many years of experience in the culture and education sector, I am deeply humbled to be invited to share my understanding of the master’s paintings, as well as how they have inspired me.

For centuries, Feng Shui has been an essential element of Chinese culture. It requires many years of cultivation to be knowledgeable in theory and experienced in practice, something Master Yun has accomplished. Master Yun’s understanding of Feng Shui has risen to a spiritual level that is manifested in his Feng Shui paintings. This not only reflects Master Yun’s pursuit of excellence but also his talents in many aspects, as well as his extraordinary intelligence and capabilities. 

All of Master Yun’s paintings include auspicious elements symbolising happiness, prosperity and fulfilment. There are peacocks, phoenixes, dragons and cranes, which symbolise elegance, bliss, fortune and longevity. There are also lotuses, gourds, lingzhi, peonies, orchids, lilies, as well as pines, bamboos and plums, otherwise known as the “Three Friends of Winter” 岁寒三友. These auspicious imageries blend in with the Feng Shui of a house, creating an atmosphere of harmony, warmth and happiness. These art creations are undoubtedly the quintessence of creativity and imagination.

All paintings created by Master Yun are distinctive and unique. 

One dominant distinctive trait lies in his painting techniques. Most Feng Shui paintings adopt either the traditional Chinese technique or the Western painting technique. To do a combination of both and have them blend together well is a meaningful endeavour by Master Yun. For decades, innumerable professional artists have attempted to apply both techniques to their works, and some have achieved good results. However, artists in the region who made such an attempt are far and few between. Master Yun noticed the limitations of both techniques and was eager to experiment with them so that he could achieve the congruity of East meets West. We see from his paintings today that it was an insightful and feasible attempt. It requires much time and effort to complete a painting, and often, Master Yun has to juggle a few paintings at the same time. For example, as he starts to paint the base of this painting, another one could be half-way through. When the first painting has thoroughly dried, the other one is ready to be embellished with gold foils. The cycle continues until both paintings are completed and framed. As a person who is not involved in the process, we are usually engrossed in appreciating the beauty of these paintings and tend to overlook the time and effort that go into them.

The paintings of Master Yun contain another distinctive trait that is very exciting, and that is the added element of gold. In order to achieve unique effects under different lights, Master Yun incorporates gold, silver and copper foils in his paintings. Take for instance, the gourd which represents good fortune and prosperity. Master Yun embellished the gourd with gold and silver foils, while copper foils are adhered to the flowers below. In his painting of the peacock, the peonies at the corner are embellished with gold foils, creating a contrast to the long, soft feathers of the peacock. When a viewer admires the painting from different angles, the reflective gold, silver and copper foils add an illusion of depth to the flat image, giving the painting a stereoscopic 3D effect. As the poem goes, “Seen from the front, Lushan Mountain is a continuous and rolling range, while seen from the side, it turns into a single towering peak. It takes on different shapes as you see it from different perspectives—far or near, high or low.” The master took great effort to incorporate elements of gold into his paintings, is this not an example of leading the trend?

A true artist is relentless in his pursuit of excellence. To let his paintings excite and astonish the viewers, Master Yun also included the use of florescent powder. This allows the painting to look completely different at night as compared to the day. Indeed, the painting exudes a dreamy effect in green, blue, white and yellow under ultraviolet light at night, this is a stark contrast to its presentation in broad daylight! By blending in various elements to create multiple effects, this painting created by Master Yun is truly a sight to behold!

Admittedly, a bold attempt is not the same as a perfected skill. After all, art is all about the endless pursuit of excellence. 

As we benefit from Master Yun’s paintings, we look forward to seeing more of his creations. May there be many more to come!

Associate Professor Luo Futeng
Head, Chinese Programmes
Singapore University of Social Sciences
8th April 2017

(Originally posted here: https://www.facebook.com/lotusonwater/posts/1387980637890371)