Premium Recommendation -Building Dreams in the East

*本次藏品：筑梦东方*

典藏尺寸：长：181cm宽：96cm

这幅《筑梦东方》是潘德来于丁酉年（2017）冬月创作的水墨设色国画，题款中 “江南渔人” 是其常用号，“丁酉年冬月” 明确了创作时间 ——2017 年恰是中国 “中国梦” 理念深化、文化自信觉醒的节点，这幅以 “鲤跃巨浪” 为核心的作品，既是传统符号的当代转译，也是时代精神的艺术投射。

潘德来在《筑梦东方》中以 “写意破形、设色立魂” 的手法，让 “浪” 与 “鲤” 形成视觉与精神的双重共振。

巨浪是画面的 “精神载体”，其绘制技法打破了传统 “水纹线描” 的范式：

笔法：以 “泼墨泼彩” 结合 “拖笔扫锋”，先以大笔蘸淡蓝、花青泼出浪的底色，再以焦墨、浓蓝扫出浪尖的飞白与褶皱 —— 笔触的 “乱” 并非无序，而是模拟浪潮翻涌的 “混沌张力”，暗合 “时代浪潮的澎湃与不确定性”；

墨色：从浅蓝到浓黑的渐变，既显浪的层次，又以 “蓝” 的冷色调衬托鲤的暖色调，形成 “冷浪暖鲤” 的视觉冲突，强化 “逆浪而行” 的张力；

留白：浪谷处的留白并非 “空”，而是 “浪的呼吸”，让翻涌的画面有了 “透气感”，避免了视觉的拥塞。

锦鲤是画面的 “情感焦点”，技法上延续了潘德来 “工写结合” 的特色，却更强调 “动感”：

鳞甲：以 “破线勾鳞” 替代传统 “细勾填色”，用略带飞白的墨线勾勒鱼鳞，既保留细腻质感，又显游动的 “速度感”；

姿态：鱼鳍以 “侧锋扫笔” 绘出，边缘的 “毛糙感” 模拟水流冲击下的舒展与张力；鱼眼以 “黄芯黑瞳” 点染，眼神锐利向上，强化 “逆浪的决心”；

排布：鱼群采用 “涡旋式构图”—— 从画面左下向右上呈螺旋状涌动，让静态画面产生 “向浪尖攀升” 的动态趋势，暗合 “追梦过程的螺旋上升”。

作品设色遵循 “浓而不艳、淡而不寡” 的原则：

鲤的设色：红鲤以朱砂、硃磦晕染，边缘渐淡融入浪色，既显 “红浪相映” 的视觉冲击，又避免了色彩的割裂；黑鲤以焦墨混淡赭，显沉稳厚重；金鲤以藤黄罩淡金，添 “点睛之贵”；

浪的设色：以花青、酞青蓝为主，间杂淡白提亮浪尖，冷色调的 “静” 与鲤的暖色调 “动” 形成对比，让 “逆浪” 的主题更鲜明。

Building Dreams in the East is an ink-and-color Chinese painting created by Pan Donglai in the eleventh lunar month of the Year of Ding You (2017). In the inscriptions, "Jiangnan Fisherman" is his commonly used artistic pseudonym, and "the eleventh lunar month of the Year of Ding You" clarifies the creation time—2017 coincided with a pivotal period when China’s "Chinese Dream" concept deepened and cultural confidence awakened. Centered on the motif of "carp leaping through giant waves," this work is both a contemporary reimagining of traditional symbols and an artistic projection of the spirit of the era.

In Building Dreams in the East, Pan Donglai employs the technique of "freehand brushwork to break form, color application to establish soul," allowing the "waves" and "carp" to resonate both visually and spiritually.

The giant waves serve as the "spiritual carrier" of the composition, and their rendering breaks away from the traditional paradigm of "line-drawn water ripples":

Brushwork: Combining "ink and color splashing" with "dragging and sweeping strokes," he first uses a large brush dipped in light blue and indigo to splash the base tone of the waves, then sweeps the wave crests with dense ink and deep blue to create flying white (feibai) and folds. The "disorder" of the brushstrokes is not chaos, but a simulation of the "chaotic tension" of surging waves, implicitly echoing "the momentum and uncertainty of the tides of the times."

Ink tones: The gradient from light blue to dark black not only reveals the layers of the waves but also uses the cool tone of blue to set off the warm tones of the carp, creating a visual contrast of "cool waves, warm carp" that amplifies the tension of "advancing against the tide."

Negative space (liubai): The blank areas in the wave troughs are not "empty" but "the breath of the waves," giving the surging composition a sense of "ventilation" and avoiding visual congestion.

The carp are the "emotional focal point" of the painting. Technically, they continue Pan Donglai’s signature "combination of meticulous and freehand brushwork" but emphasize "dynamic movement" more strongly:

Scales: Replacing the traditional "fine outlining and color filling" with "broken-line scale outlining," he uses ink lines with subtle flying white to sketch the fish scales. This retains the delicate texture while conveying a sense of "speed" in their movement.

Posture: The fins are painted with "side-tip sweeping strokes," and the "rough edges" simulate the stretch and tension of being buffeted by water currents. The fish eyes are dotted with "yellow cores and black pupils," their sharp, upward-gazing look reinforcing the "resolve to advance against the waves."

Arrangement: The school of carp adopts a "swirling composition"—spiraling upward from the lower left to the upper right of the frame. This lends the static painting a dynamic trend of "climbing toward the wave crests," implicitly mirroring "the spiral ascent of the dream-chasing process."

The color scheme of the work follows the principle of "rich but not gaudy, subtle but not sparse":

Carp coloring: Red carp are washed with cinnabar and vermilion, their edges fading gradually into the wave colors—this creates the visual impact of "red carp against waves" while avoiding color fragmentation. Black carp are mixed with dense ink and light ochre to convey calm solidity. Golden carp are overlaid with gamboge and pale gold to add a "touch of nobility."

Wave coloring: Dominated by indigo and phthalocyanine blue, interspersed with pale white to brighten the wave crests. The "stillness" of the cool tones contrasts with the "movement" of the carp’s warm tones, making the theme of "advancing against the tide" more distinct.

*本次藏品：筑梦东方*

典藏尺寸：长：181cm宽：96cm

在中国文化谱系中，“鲤鱼跃浪” 并非简单的物象组合，而是承载着从 “个体突围” 到 “群体奋进” 的精神迭代，《筑梦东方》则将这一符号推向了 “时代叙事” 的新维度。

传统 “鲤鱼跃龙门” 的意象，聚焦 “个体突破险阻”（《三秦记》载 “鲤登龙门，化为龙”），而《筑梦东方》将 “龙门” 置换为 “巨浪”—— 画面中铺展的不是静态的门阙，而是翻涌的、席卷画面的蓝白巨浪，这一空间转换让意象从 “个体跃迁” 升级为 “群体在时代浪潮中的奋进”：数十尾锦鲤并非 “独跃”，而是簇拥着、裹挟着向浪尖涌动，暗合 “时代浪潮下的集体追梦”。

在传统语境中，鲤是 “年年有余” 的民俗符号，但《筑梦东方》赋予其三重当代内涵：

奋进者：锦鲤昂首逆浪的姿态，对应当代人在机遇与挑战中的主动突围；

共同体：鱼群的密集簇拥，隐喻 “命运与共” 的群体意识；

东方底色：红、黑、金三色锦鲤的组合，既保留 “红鲤招财、黑鲤镇宅” 的传统寓意，又以浓烈的红色呼应 “东方文化标识”。

传统文人画的 “诗书画印” 在《筑梦东方》中并非 “形式附庸”，而是 “精神注解”。

画面采用 “对角线构图”：鱼群从左下（浪谷）向右上（浪尖）涌动，形成一条 “攀升动线”，这既是视觉的引导，也是 “从低谷到高峰” 的精神隐喻；左上角的题款与右下角的印章形成 “对角平衡”，让动感的画面有了 “稳定的精神锚点”。

题款 “筑梦东方” 以行书书写，笔法开阔舒展：

“筑” 字的 “竹字头” 以劲挺的竖笔起势，暗合 “筑梦的坚定”；

“梦” 字的 “夕” 部以飞白收笔，显 “梦的轻盈与辽远”；

小字 “丁酉年冬月 江南渔人潘德来” 既明确创作信息，又以 “江南渔人” 的号呼应 “鲤” 的 “水居属性”，让题款与画面形成 “语境闭环”。

画面钤两方印：

姓名印：“潘德来印” 以朱文篆刻，线条刚劲，是作品的 “身份标识”；

闲章：“江南渔人” 以白文篆刻，与题款呼应，强化 “水畔创作” 的文人底色；

印章的朱红在蓝、白、墨的主色调中形成 “视觉焦点”，既点缀画面，又以 “朱红” 这一东方传统色彩呼应 “东方” 主题。

在 2017 年的文化语境中，《筑梦东方》的价值在于 “传统符号的当代转译” 与 “东方美学的国际表达”。

传统水墨多以 “山水、花鸟” 为题材，且追求 “淡远空灵”，但《筑梦东方》以 “巨浪锦鲤” 为题材，以 “浓烈色彩、澎湃动感” 打破了 “水墨必淡” 的刻板印象，证明传统水墨可以承载 “宏大时代叙事”。

在西方当代艺术 “观念先行” 的语境下，《筑梦东方》以 “传统符号 + 当代精神” 的方式，建构了 “东方美学的叙事逻辑”：它不依赖 “西方艺术理论” 的注解，而是以 “浪”“鲤” 这些中国人熟悉的意象，传递 “奋进、团结、追梦” 的普世价值，实现了 “东方表达的世界共鸣”。

《筑梦东方》的 “梦” 并非抽象概念，而是具象的三重维度：

个体之梦：逆浪的勇气

画面中每尾锦鲤都有自己的姿态：有的冲在浪尖，有的紧随其后，有的侧身借力 —— 这对应每个个体的 “追梦路径”：有人引领，有人追随，有人在浪潮中寻找自己的节奏，却都朝着 “浪尖” 的方向，暗合 “个体价值在时代中的实现”。

群体之梦：共生的智慧

鱼群的 “簇拥” 并非 “拥挤”，而是 “相互借力”：红鲤的鲜艳吸引视线，黑鲤的沉稳提供支撑，金鲤的亮眼点缀希望 —— 这是 “群体追梦” 的智慧：不是 “独胜”，而是 “共生共荣”。

东方之梦：文化的觉醒

画面的 “东方” 底色不仅是 “锦鲤”“水墨” 这些符号，更是 “逆浪而跃” 的精神：从 “西风东渐” 到 “东方崛起”，恰如锦鲤从 “浪谷” 跃向 “浪尖”，这是文化自信的视觉表达 ——“筑梦东方”，筑的是 “东方文化的当代之梦”。

《筑梦东方》的价值，在于它实现了 “三个连接”：

连接传统与现代：以传统水墨技法承载当代精神，让 “老符号” 有了 “新生命”；

连接个体与时代：以锦鲤的 “个体跃” 呼应时代的 “群体梦”，让艺术作品成为 “时代的镜子”；

连接东方与世界：以 “浪”“鲤” 的普世意象，传递东方的 “追梦精神”，让东方美学获得国际语境下的共鸣。

In the 谱系 of Chinese culture, "carp leaping through waves" is not merely a combination of images, but a spiritual evolution from "individual breakthrough" to "collective advancement." Building Dreams in the East elevates this symbol to a new dimension of "epochal narrative."

The traditional motif of "carp leaping over the Dragon Gate" focuses on "an individual overcoming obstacles" (as recorded in Records of the Three Qin: "When a carp leaps over the Dragon Gate, it transforms into a dragon"). In Building Dreams in the East, however, the "Dragon Gate" is replaced by "giant waves"—the composition unfolds not as a static gate, but as surging blue-and-white waves that sweep across the frame. This spatial shift upgrades the motif from "individual ascent" to "collective forging ahead in the tides of the era": dozens of koi do not leap alone, but cluster and surge toward the wave crests, implicitly echoing "collective dream-chasing amid the tides of the times."

In traditional contexts, the carp is a folk symbol of "abundance year after year," but Building Dreams in the East endows it with three layers of contemporary connotation:

The Striver: The koi’s posture of holding their heads high against the waves corresponds to modern people’s proactive breakthroughs amid opportunities and challenges;

The Community: The dense clustering of the school metaphorizes the collective consciousness of "shared destiny";

The Eastern Essence: The combination of red, black, and golden koi retains the traditional meanings of "red koi bringing wealth" and "black koi guarding the home," while the vivid red resonates with "Eastern cultural identity."

In Building Dreams in the East, the "four excellences" of traditional literati painting (poetry, calligraphy, painting, seal carving) are not "formal accessories," but "spiritual annotations."

The composition adopts a "diagonal layout": the school of carp surges from the lower left (wave trough) to the upper right (wave crest), forming an "ascending visual path." This serves not only as a visual guide, but also a spiritual metaphor for "rising from the depths to the heights"; the inscription in the upper left and the seal in the lower right create "diagonal balance," giving the dynamic frame a "stable spiritual anchor."

The inscription "Building Dreams in the East" is written in running script, with an open and flowing brush style:

The "bamboo radical" of the character "筑" (build) begins with a stiff vertical stroke, implicitly echoing "the resolve to build dreams";

The "evening radical" of the character "梦" (dream) ends with flying white (a calligraphic technique), embodying "the lightness and remoteness of dreams";

The smaller text—"the eleventh lunar month of the Year of Ding You, by Jiangnan Fisherman Pan Donglai"—clarifies the creation details, while the pseudonym "Jiangnan Fisherman" 呼应 the carp’s "aquatic nature," forming a "contextual loop" between the inscription and the painting.

Two seals are stamped on the work:

Name Seal: "Pan Donglai Yin" (Seal of Pan Donglai) is carved in 朱文 (relief script) with bold lines, serving as the work’s "identity marker";

Leisure Seal: "Jiangnan Fisherman" is carved in 白文 (intaglio script), echoing the inscription and reinforcing the literati essence of "creating by the waterside";

The vermilion of the seals forms a "visual focal point" amid the dominant blue, white, and ink tones. It not only adorns the painting, but also uses vermilion— a traditional Eastern color—to resonate with the "Eastern" theme.

In the cultural context of 2017, the value of Building Dreams in the East lies in "the contemporary translation of traditional symbols" and "the international expression of Eastern aesthetics."

Traditional ink painting mostly centers on "landscapes, flowers, and birds" and pursues "subtle, distant tranquility," but Building Dreams in the East takes "giant waves and koi" as its theme, using "vibrant colors and surging dynamism" to break the stereotype that "ink painting must be muted." It proves that traditional ink painting can carry "grand epochal narratives."

Against the backdrop of Western contemporary art’s "concept-first" paradigm, Building Dreams in the East constructs a "narrative logic of Eastern aesthetics" through "traditional symbols + contemporary spirit": it does not rely on interpretations from Western art theory, but uses images familiar to Chinese people—waves and carp—to convey the universal values of "striving, unity, and dream-chasing," achieving "global resonance for Eastern expression."

The "dream" in Building Dreams in the East is not an abstract concept, but a concrete three-dimensional vision:

The Individual’s Dream: Courage to Defy the Tide

Each koi in the painting has its own posture: some charge at the wave crests, some follow closely, some lean to borrow momentum—this corresponds to each individual’s "path to chasing dreams": some lead, some follow, some find their rhythm amid the tides, yet all move toward the wave crests, implicitly echoing "the realization of individual value in the era."

The Collective’s Dream: Wisdom of Symbiosis

The "clustering" of the school is not "crowding," but "mutual support": the bright red koi draw attention, the calm black koi provide stability, the gleaming golden koi add touches of hope—this is the wisdom of "collective dream-chasing": not "winning alone," but "thriving together."

The Eastern Dream: Awakening of Culture

The "Eastern" essence of the painting is not just symbols like "koi" and "ink painting," but the spirit of "leaping against the waves": from "Western trends spreading eastward" to "the rise of the East," just as the koi leap from the wave trough to the crest, this is a visual expression of cultural confidence—"Building Dreams in the East" is about building "the contemporary dream of Eastern culture."

The value of Building Dreams in the East lies in its realization of "three connections":

Connecting Tradition and Modernity: Using traditional ink techniques to carry contemporary spirit, giving "old symbols" new life;

Connecting Individuals and the Era: Using the "individual leaps" of the koi to echo the era’s "collective dream," making the artwork a "mirror of the times";

Connecting the East and the World: Using the universal images of waves and koi to convey the Eastern "spirit of dream-chasing," allowing Eastern aesthetics to resonate in the international context.

*本次藏品：筑梦东方*

典藏尺寸：长：181cm宽：96cm

以上藏品相关信息请与：四川尚亿拍卖有限公司联系。 

For information about the above collections, please contact: Sichuan Jun Zailai Auction Group Co.