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西湖的诗人与画家严善錞

2018-07-10 15:04:00 来源: 艺术家提供 作者:唐冠科
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摘要:春则花柳争妍,夏则荷榴竞放 秋则桂子飘香,冬则梅花破玉 瑞雪飞瑶。四时之景不同 而赏心乐事者亦与之无穷矣。 ——吴自牡《梦梁录》卷十二之《西湖》 在过去的十年里,严善錞成为了杭州西湖的画家与诗人。他在杭州出生,1982年毕业于浙江美术学院(现中国美术学院),最近因家事又重回杭…

春则花柳争妍,夏则荷榴竞放

秋则桂子飘香,冬则梅花破玉

瑞雪飞瑶。四时之景不同

而赏心乐事者亦与之无穷矣。

—— 吴自牡《梦梁录》卷十二之《西湖》

  在过去的十年里,严善錞成为了杭州西湖的画家与诗人。他在杭州出生,1982年毕业于浙江美术学院(现中国美术学院),最近因家事又重回杭州。在这十年里他的绘画与版画几乎毫无例外地都与西湖及其周遭相关。如此专注于一个特定的主题,或许严善錞将自己与一些西方艺术家联系在了一起,比如将大半生投入到不同形式的《向正方形致敬》之中的约瑟夫•亚伯斯,或者是用尽毕生心血在意大利博洛尼亚以静物为灵感的乔治•莫兰迪。如同亚伯斯将正方形作为去探索色彩的神秘性的一种方式,或者莫兰迪将工作室作为唯一的创作场所一样,严善錞以西湖为主题,并不断通过画布和宣纸比例的变化以及对不同技法的尝试改变着这个主题。当他开始在铜版画中采用相同的主题时,这成为了其创作历程中又一个重要里程碑。

  西湖在世界著名湖泊中属于面积最小的其中之一,与北美的五大湖或者意大利的马焦雷湖、科莫湖以及卢加诺湖等相比,它只是冰山一角。此外,它被三个堤道分为五个部分,步行横穿湖面或者环绕一圈都不难。然而由于过去的一千多年里各种诗人、画家、皇帝和官员络绎不绝地对西湖胜景的赞美,它获得了一个非凡的光环。

  尽管没有必要停留在西湖历史上来对严善錞的作品进行阐释,但探讨他与历代其他赞美西湖的文人雅士有什么相似之处及区别,对于研究其近期的绘画和版画起到了重要作用。在讨论宋代官员兼诗人苏轼时,汪利平指出,与其说苏轼作为杭州地方官员拯救了西湖,不如说苏轼作为诗人将西湖从一个普通的淡水源捧成了古代中国文化地图上的一个独一无二的绝世景观。用明清文人的话说,是苏轼的文字使得其山水闻名遐迩。在其有关杭州的三百首诗中,许多都描写了他闲游西湖的情境[1]。在他最著名的一首诗中,苏轼把西湖比作为春秋末期出生在杭州附近的西施。

水光潋滟晴方好,

山色空蒙雨亦奇。

欲把西湖比西子,

淡妆浓抹总相宜。[2]

——饮湖上初晴后雨二首(其一)

  然而,由于干旱的反复出现及疏于治理,西湖水量愈渐减少,历代诗人描述西湖当时情境时常常表现出一丝凄婉。出身仕宦家庭的张岱(1597 – 1679年)见证了1644年明朝的灭亡以及满清入侵后的屠杀和动乱。根据张岱《西湖梦寻》的序言可以发现,此书著于清康熙十年(1671年),刻于康熙五十六年。写在明亡之后,作者通过此书来缅怀昔日胜景,表达了作者的失落与绝望。他在序言中悲叹道,“余生不辰,阔别西湖二十八载,然西湖无日不入吾梦中。[3]”他提及家中所有的土地和家业,甚至自家的花园,全都没了,并继续说道:“及至断桥一望,凡昔日之歌楼舞榭,弱柳夭桃,如洪水淹没,百不存一矣。余及急急走避,谓余为西湖而来,今所见若此,反不若保吾梦中之西湖为得计也。”[4]

  诗歌通常是通过明喻和暗喻的方式来产生对西湖的联想,而不是直接描述,画家则有许多选择,包括从有关地貌的工笔描绘到富有诗意的写意描述等各种形式。华盛顿弗瑞尔美术馆藏有的宋代李嵩(约生活于1190年–1230年)《西湖清趣图》,详尽展现了湖岸边形形色色的生活和湖上繁忙的船只交通。上海博物馆也藏有一件李嵩的《西湖图卷》(图1)[i],画面的视角更高,虽然描绘的方式并不如前者详尽,但却表现了古代西湖的全貌。叶肖岩(约生活于1253 – 1258年)的《西湖十景图册》(图2)[ii]最早记载于1279年,其他的南宋画家马远,马麟,陈清波和画僧若芬玉涧等也都创作过同样的题材。甚至中国其它地方的景观,如牧溪(1220 – 1280年)的著作《潇湘八景图》(图3)[iii],灵感都来自于杭州。[5]

  对于挑战一个自古以来就已经有过无数传承和记载的主题需要莫大的勇气,而严善錞却欣然接受。他试图如明末清初的张岱一样去捕捉他梦中的西湖,而不是去画他每天所看到的西湖景色,而实现这种挑战的唯一方式便是忘记他所知道的一切。其2016至2017年的作品,主要可以追溯到一组2005年的作品(图4)[iv],这些作品以杭州郊区两个重要区域而命名——西溪湿地和以三座古庙而闻名的天竺。横幅的画布以及布面丙烯的使用都显示出这些作品主要受到西方传统风景画的影响,同时作品柔和苍白的色调提醒了我们艺术家只是选择性地采取西方的绘画经验。

  在接下来的一年里,严善錞开始尝试一种更水墨的形式,比如《西湖03》几乎就是抽象的(图5)[v],但最重要的突破是他开始将纸裱在画布上,并在上面一层又一层地覆盖上丙烯、墨以及颜料。准备画布表面的第一步是先将石膏粉和胶水覆盖在他所亲睐的韩国皮纸上,制作成1-2毫米厚、类似石灰膏一样的表面。寻求个人主张的严善錞早已意识到,如果他选择西方或中国画特有的创作模式,比如选择布面油画或者纸本水墨中的任何一种,他都无法实现自己的目标,无法为西湖文化与视觉艺术做出有意义的贡献。用油画方式来表现西湖肯定不算进步,而具有悠久历史的水墨画也存在类似的问题,他也不对当前最火热的水墨市场感兴趣。

  严善錞描述了他试图达到的效果:“我一直想在欧洲的湿壁画的和中国的古代壁画中找到一种与西湖气质相应的材料。这两种壁画都有油画那种深沉和厚实的感觉,好像形象都是从画的背后向传达出来的,但又让人感觉到它非常的透气。传统的水墨在材料上还是缺乏一种纵深感。它的层层叠加总还是让人感觉是在一个平面上的渲染,就像水彩画一样。”[6]。严善錞开始凭借直觉进行创作,画面取决于丙烯颜料或水彩与吸收程度之间产生的反应,以及不同层颜料被运用的顺序,创作出从不透明到半透明的不同层次。他运用粗旷的笔触或者大片的颜料,并使稀释的颜料渗透到一层层的颜料之中或是飞溅出去,这些都进一步模糊了整个画面。

  虽然严善錞的一些作品援引了具体的西湖景点,比如阮公墩和苏堤等,但他都只是用了淡淡的色彩来暗示这些地点。严善錞2008年的画作精致且大气(图6)[vi],可以称得上非凡的成就,虽然采取的形式不同,却毫不逊色地为中国古美术里以西湖为题材的悠久传统添砖加瓦。

  2009年严善錞似乎带着喜悦的心情开始尝试更大尺幅的作品,他强调了作品表面的质感,并创作了以《西湖寻梦》为名的一系列作品(图7)[vii],表明他渴望去捕捉并传达一种诗意的氛围,而不是特定的地理位置。他不再坚持大部分作品固有的横幅构图,开始采用纵向的形式,这对于西方风景画来说并不多见,同时他也几乎去掉了所有色彩的痕迹。隐约可见湖岸将画布分成了两半,又或许是阮公墩从近乎单色的背景中浮现出来,就是这样若隐若现的才不会被误读为抒情抽象的作品。这些作品以象牙色的基调和光滑的画面表现出一种平静、梦幻般的氛围,徘徊于具象与抽象之间。

  那些是当时他最杰出的作品,也是在版画成为其创作重心之前的最后一批绘画作品。在一块小小的铜板上再现西湖的婀娜多姿成为了一个挑战,然而这注定会在他带着如三年前一样的全新的热情重新回到绘画中时产生巨大的影响。严善錞十分注重自己非传统版画技术中所存在的不确定性,以及橄榄油和硫磺粉的混合物在铜板表面所产生的一种具有空间感的奇妙效果。正像他在许多版画作品中常用的手法一样,在其2014和2015年自己最喜欢的中等大小的绘画中,艺术家通过一些细节描写来暗示西湖,例如一棵柳树(图8)[viii],或甚至是像莫奈后期的《睡莲》中一样的水中倒影和水草由于折射变了形的样子。在另一组画布上,版画的影响以另一种方式呈现,他对分层和颜色的使用进行实验(图9)[ix],并将这些绘画作为版画作品的草稿。

  经过五年对版画的钻研和零星的绘画创作,在2016年严善錞获得了足够的自信去重新回到巨幅的创作之中。这六年来的冥想与实验在作品《湖滨#20》(图10)[x]以及在2016年下半年至2017年初创作的十六件大幅《湖上》作品中达到高潮。

  在2009年的《西湖寻梦》系列作品中,严善錞仿佛想要给自己的创作过程蒙上一层纱,将观者引领到已经消逝的神秘过去。然而现在他有着截然不同的态度。他详尽地描述了自己的创作过程:“我先在画的底面铺上一层韩国皮纸并在它表面覆盖上想要的表面,再用砂纸打磨表面,然后才开始用墨和其它中国画的颜料(如朱砂、藤黄)或茶汁在上面作画。在作画的过程中,也会根据不同的形象或画面整体效果的需要,反复地用砂纸打磨或者用石膏粉再覆盖,再在上面绘制图像。一般情况下,一幅作品总会有三四次整体打磨和绘画。”[7]。在他开始使用石膏粉作为画面基底的十年后,他愈发愿意将这一材料以更纯粹的形式呈现出来。在此之前,它只是一个光滑吸水的表面,大部分都被掩盖在厚重的颜料之下,然而现在石膏粉在最终的作品里却占有重要的地位,它粗燥的表面与艺术家使用的其他材料形成鲜明对比。《湖滨#20》,尤其是画面的右边,间接援引了西湖的地形,但主要是通过颜料和画布表面之间的不同关联来表达诗情画意的氛围,比如用刀不断地刮掉厚重的颜料直到画布底层隐约浮现出来,或者在画面上涂上稀释了的颜料,任由它滴下来。

  之后的绘画作品所取得的一系列效果可以说令人眼花缭乱。艺术家欣然接受各种意外的效果,也因此产生了一系列新的发现。摒弃了小心翼翼的处理方式,严善錞听由自己所运用的材料的引领,为熟悉的西湖景象赋予了新的生命。在《湖上 #4》(图11)[xi]中,画面下方三分之一处横穿而过的一条模糊的线以及横线最右边又淡又宽的笔触,仿佛暗示了湖岸线和一个小岛。然而从一开始便牢牢抓住观者注意力的,却是画面中常常令人惊喜的大色块的运用,或者通过抓、刮和擦而产生的一些意想不到的效果。这类作品的力量在于,当观者站在它们前面沉思时,画的表面与若隐若现的景观之间那种悬而未决的矛盾。

  严善錞的艺术生涯是不平凡的。他早在上世纪80年代就开始尝试,但在随后的很长一段时间内创作的不多,反而将大部分时间都用在思考和研究艺术上了。而在过去15年当他回到版画和绘画后他创作了大量作品,也成就了这批2016至2017年间非凡的作品。

  [1]  汪利平,《康熙南巡与西湖景观建设》,中国遗产季刊,第28刊,2011年2月

  [2]  苏轼,《苏轼诗集》,北京:中华书局,1982年,第二版,第430页

  [3]  张岱,《西湖寻梦》,中国遗产季刊,第28刊,2011年12月

  [4]  同上

  [5]  李慧漱,《雅致之时:西湖与南宋艺术》,华美协进社,纽约,2001,第19-59页

  [6]  与艺术家对话,2017年6月

  [7]  与艺术家对话,2017年6月

  Yan Shanchun, poet/painter of West Lake

  “In spring flowers and willows compete in beauty, while lotus and pomegranates bloom in summer. In autumn the fragrance of cassia floats in the air, and in the winter jade-like plums bloom amidst the whirling flakes of auspicious snow. The scenes of the four seasons are ever changing, and these things that gratify the heart and give pleasure proceed endlessly apace.”[7]

  In the last decade Yan Shanchun has become the painter/poet of West Lake in Hangzhou. He was born in Hangzhou, educated at the Zhejiang Academy of Fine Arts from which he graduated in 1982 and in recent years has returned to Hangzhou for familial reasons.  Almost without exception over the last decade his paintings and prints refer to West Lake and its environs. In the exclusivity of his focus on one motif, Yan might be compared with Western artists such as Josef Albers (1888-1976) who devoted the greater part of his life painting variations on Homage to the Square or Giorgio Morandi (1890-1964) who spent his whole life in Bologna and found his greatest inspiration in still-life. Just as Albers used the square as a vehicle for exploring the mysteries of color and Morandi needed go no further than his studio, Yan Shanchun uses West Lake as a theme that is constantly transformed by variations in the proportions of his canvas/support and his ongoing experimentation with different techniques. An important development occurred when he began to utilize the same subject matter in copper-plate etchings.

  Among famous lakes West Lake in Hangzhou is one of the smallest. Compared with the five Great Lakes of North America or the Italian Lakes – Lake Maggiore, Lake Como, and Lake Lugano – it is a fraction of the size. Furthermore, it is divided into five sections by three causeways and can be crossed on foot or circumambulated with relative ease. For well over a thousand years, however, it has acquired a remarkable aura through the uninterrupted succession of poets, painters, emperors and administrators who have praised its beauty, each one building on the accomplishments of his predecessors.

  Although it is unnecessary to dwell on the history of West Lake in Hangzhou in these remarks on Yan Shanchun, it is important for an understanding of his recent paintings and prints to see what he has in common with the many generations of artists who have celebrated the lake and what it is that distinguishes him from them. In a discussion of the career of the Song dynasty (960-1279) official and poet Su Shi (1037 – 1101) Liping Wang notes that “if Su Shi the prefect physically saved West Lake, it was Su Shi the poet who elevated its landscape from the ranks of ordinary reservoirs and made it a unique site on the cultural map of imperial China. In the words of Ming-Qing literati, it was Su Shi’s writing that ‘made the landscape famous.’ Among the three hundred poems Su composed about Hangzhou many described his leisurely tours of the lake.”[7] In one of his most celebrated poems West Lake is likened to Xishi, a fifth century BCE courtesan who was believed to have been born close to Hangzhou.

  The shimmer of light on the water is the play of sunny skies,

  The blur of colour across the hills is richer still in rain,

  If you wish to compare the lake in the West to the Lady of the west,

  Lightly powdered or thickly smeared is just as apt. [7]

  Repeatedly, however, owing to recurrent droughts and neglect the lake went into decline and an elegiac tone is not unusual among writers who describe and lament its current state. Born into a wealthy and prestigious family Zhang Dai (1597- 1679) lived long enough to witness the fall of the Ming dynasty in 1644 and the turmoil that followed the Manchu-Qing led invasion. Search for West Lake in My Dreams, dated 1671 in the author’s preface although not published until 1717, gives poignant expression to his sense of loss and despair. “Born at an evil hour, I have been separated from West Lake for twenty-eight long years. Not a day passes, however, that West Lake does not enter my dreams,” he laments in the Author’s Preface.[7] After naming all the estates including his own family garden that have vanished, he continues: “When I reached Break-Off Bridge and gazed out, I found that only one in ten of the fine willows and tender peaches that once stood there, of the singing pavilions and the dance terraces, had survived, the rest as if washed away by a great flood. I fled from the place, hiding the sight from my eyes and consoling myself with the thought that as I had come here to view West Lake only to find it thus, it was better to seek to preserve the West Lake of my dreams, for that West Lake at least remains intact.”[7]

  While poems generally convey the multiple associations of West Lake through simile and metaphor rather than direct description, painters have a number of options ranging from a topographical approach to a more poetic evocation. A scroll in the Freer Gallery attributed to Li Song (active ca. 1190-1230), The Panorama of Hangzhou on West Lake, conveys in great detail the varied activities along the shore of the lake and the busy boat traffic on the lake itself.  Equally informative although the lake is seen from an elevated perspective and is depicted in a less detailed manner is another handscroll also attributed to Li Song, West Lake, in the Shanghai Museum. (Fig. 1)[7] First recorded in 1279, the Ten Views of West Lake were painted by Ye Xiaoyan (active ca. 1253 – 1258) (Fig. 2)[7]and are reported to have been painted by other Southern Song dynasty painters including Ma Yuan, Ma Lin, Chen Qingbo, and the monk Yujian Ruofen.  Even views of other locations in China such as the celebrated Eight Views of Xiao-Xing by Muqi (ca. 1220 – 1280) (Fig. 3)[7] were inspired by Hangzhou.[7]

  It is a bold artist who takes on the challenge of adding to this wealth of material. Yan Shanchun has taken on the challenge. Steeped in the history and lore of West Lake as he is, Yan found that the only way to accomplish this was to forget everything he knew, capturing the West Lake in his dreams in the same spirit as Zhang Dai in the 17th century and not the lake that he has seen on a daily basis for a good part of his life. The major accomplishment of the 2016-2017 paintings can be traced back to a small group of paintings dating from 2005 named after two important areas on the outskirts of Hangzhou, the Xixi wetland and Tianzhu, famous for three old temples. (Fig.4)[7]The landscape format of the canvases and the use of acrylic on canvas resulted in a group of works that were primarily inspired by the tradition of Western landscape although the subdued palette revealed only qualified acceptance.

  The following year he began experimenting with a much more calligraphic approach, virtually abstract as in West Lake #3 (2006), (Fig. 5)[7]but the most important development occurred when he began using paper mounted on canvas as support, which he covered with multiple layers of acrylic, ink and color. The first step in preparation of the painting surface was to cover Korean vellum paper that he favored with plaster powder and glue to make a 1-2mm puttylike surface. Too much of an individualist, Yan already realized that he could not achieve his goal to make a meaningful contribution to the lore and visual representation of West Lake if he chose to work in either of the modes most characteristic of Western or Chinese painting, oil on canvas or ink on paper. Oil paintings of West Lake would almost certainly be retardataire while the long history of ink painting posed similar problems and its currently contested state was of limited interest to him.

  He has described the effect he was trying to achieve as “comparable to the appearance of European fresco and mediaeval Chinese mural paintings. Both techniques share a sense of depth and the physicality of oil painting, as if the images exist in three dimensions, in fully realized space.  Traditional ink painting lacks a sense of depth. The multiple layers of ink all seem to exist on the same surface, in this respect resembling watercolor.”[7]Working intuitively, he began to create surfaces in which depending on the reaction between the pigment – acrylic or water-based – and the degree to which it was absorbed, and the sequence in which different layers were applied, he was able to create surfaces that range from opaque to translucent.  Further ambiguities were achieved through applying thicker strokes or areas of pigment to the surface and allowing thinly diluted pigment to drip in multiple layers or be dispersed in energetic spatters.

  Although there are references to specific locations on West Lake such as Ruan Gong Islet and Su Causeway in some of the paintings, their material presence is never more than hinted at through the use of thinly diluted washes of pigment. Delicate and atmospheric, the paintings of 2008 are remarkable accomplishments, worthy additions to the long tradition of visual representations of West Lake in classical Chinese art without making any stylistic references to it. (Fig. 6)[7]

  Working with evident delight and on a much larger scale in 2009, Yan Shanchun emphasized the physicality of the surface of his paintings, producing a series of works that he titled West Lake in my Dream, (Fig. 7)[7] a title indicative of his desire to capture and convey a poetic atmosphere rather than specific locations. Abandoning the horizontal landscape format that had characterized most of his works so far he turned to a vertical format, unusual for landscape, and eliminated nearly all traces of color. Glimpses of the shore of the lake bisecting the canvas and of what may be Ruan Gong islet emerging through subtly modulated, nearly monochromatic areas of paint are just sufficiently evident to prevent them from being read as lyrical, abstract compositions. With their ivory tonality and smooth surface, these paintings are calm and dreamlike in mood, hovering on the border line between representation and abstraction.

  His greatest achievement until then, these paintings were the last to have been completed before printmaking became his primary focus. The challenge of representing the multiple associations of West Lake on the diminutive scale of a copper plate, however, was bound to affect his painting once he returned to it with renewed enthusiasm as has happened in the last three years. Yan treasures the unpredictability of his unorthodox print-making technique, and the miraculous way in which the pools of olive oil and sulfur create spatial and atmospheric effects on the flat surface of a copper plate.  As in many of his prints, in the medium size canvases that he mostly favored in 2014 and 2015, West Lake is evoked through details such as a single willow tree (Fig. 8)[7] or even, as in the late Nymphéas of Claude Monet, through reflections on the surface of the water and distorted images of under-water plant life. The influence could also go the other way as in a group of canvases, experiments in layering and the use of color (fig. 9)[7] that Yan Shanchun regards as studies for prints.

  After five years of printmaking and a sparing production of paintings, in 2016 Yan had gained enough self-confidence to resume working on a monumental scale. Lake Shore # 1 (2016) (Fig. 10)[7] and the sixteen large works that followed in the latter half of 2016 and early 2017 under the general title Over the Lake are the culmination of six years of musing and experimentation.

  In the West Lake in my Dream series of paintings (2009) it was almost as if Yan wished to draw a veil over his working process, presenting the viewer with mysterious evocations of a vanished past. Currently he has the opposite intention. He has described how, after laying down the Korean vellum paper  and covering it with the desired surface, he proceeds “to sandpaper the surface before creating images with ink and cinnabar pigment, gamboge resin (garcinia hanburyi), or tea. Depending on the design and composition, further layers will be applied to the surface, followed by sandpapering and further painting. In general a work will go through this procedure three or four times.”[7] In the ten years that have elapsed since he first started using plaster powder as ground for his paintings, he has shown increasing willingness to let it appear in an unadulterated form. Whereas previously, it had provided a smooth, absorbent surface that largely disappeared beneath layers of pigment, it now figures prominently in the completed works, its matte surface contrasting with all the other materials he uses.  There are indirect references to the topography of the lake in Lake Shore # 20, particularly in the right hand panel, but the primary means of conveying the poetic atmosphere is through the wide variety of means through which the pigments relate to the surface of the canvas, whether applied in thick, viscous layers that are scraped until underlying strata dimly emerge, or thinly diluted on the paint integument and allowed to drip.

  In subsequent paintings the range of effects is dazzling. Accidents are welcomed and lead to new discoveries. Abandoning all caution Yan brings the familiar imagery of West Lake to life through his willingness to be guided by the behavior of his materials. In Over the Lake # 4 the faint indication of a horizontal line across the lower third of the panel and an accumulation of thinly-diluted, broad brush strokes on the right edge may indicate the shore line and an island but it is the unfailing interest of the painterly surface, full of surprises, of unanticipated effects including scratching, scraping and erasing, that first holds the attention of the viewer (figs.11, 12, details)[7]. The power of works such as these resides in the unresolved tension between the surface and the suggestions of landscape that come and go as the viewer stands in contemplation before them.

  Yan Shanchun’s career as an artist has been an unusual one. Tentative beginnings in the early 1980s were followed by a long period in which he spent more time reflecting on and looking at art rather than producing it. The last fifteen years during which he returned to painting and printmaking have been extraordinarily productive, leading up to the remarkable paintings of 2016-2017.

  [i]  认为是南宋李嵩(活跃于c. 1190-1230)所作,《西湖图景》,手卷,水墨纸本,25.8 x 81.6 cm,上海美术馆

  [ii]  南宋画家叶肖岩(活跃于c. 1253-1258),《西湖十景》,选集:绢本彩墨,23.9 x 26.2 cm,国立故宫博物院

  [iii]  牧溪,《渔村夕照》,《潇湘八景》之一,立轴;纸本水墨,34.4 x 112.4 cm,根津美术馆,东京

  [iv]  严善錞,《西溪之二》,2005,布面亚克力

  [v]  严善錞,《西湖03》,2006,综合材料

  [vi]  严善錞,《阮公墩之五》,2008,119 x 149 cm

  [vii]  严善錞,《西湖寻梦#1》,2009

  [viii]  严善錞,《柳树#4》,2015

  [ix]  严善錞,《湖面#5》,2014

  [x]  严善錞,《湖滨#20》,2016

  [xi]  严善錞,《湖上#4》,2016

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