Lian Zihua's "Li Bai" is full of poetic charm, Su Xianzhong's conceptual expression in "Paper", Lian Deli's pursuit of ultimate craftsmanship in "Myth", Xu Ruifeng's "Source" blends heaven and earth with exquisite craftsmanship, and Zhang Hairui's popular interest in "Moon Sweetener" The continuation and innovation of Dehua white porcelain in the context of contemporary ceramics have never stopped. Using porcelain as a medium, exploring the various possibilities of ceramic sculpture, artists innovate and seek change in tradition, and bring new artistic vitality to the millennium old "Chinese white".

The warm and pure Dehua white porcelain, as pure as jade, comes with a peaceful and soft light, and strolling through exhibitions is like taking a deep breath of the soul. In a simple and elegant aesthetic atmosphere, release fatigue and calm emotions Xu, seeking the beauty of inner peace.

The phrase 'poetry in painting, painting in poetry' is a classic summary by ancient people about the connection between poetry and painting. The tradition of "unity of poetry and painting" has made painters consciously incorporate poetry into their paintings, transforming poetry and poetic scenery into artistic meaning and scenery, and highlighting the artistic conception of "intangible" and "audible" poetry through "tangible" and "silent" painting forms, thus forming an important creative model for Chinese painters. Mr. Lin Fengsu, a master of Lingnan landscape painting, has had a fondness for reading ancient poetry and books since childhood, naturally benefiting from the tradition of poetic expression in ancient times. However, he did not only provide illustrations or descriptions of the poetry of ancient people, but also incorporated and repeatedly refined his own taste of the artistic conception of ancient poetry, fully reflecting his discovery and processing of the poetry of "ordinary family mountains", including his understanding of imagery and modeling. This pursuit of "poetry" can be seen as a potential mentality of his personal temperament and ideas. In today's rapidly developing industrial civilization, traditional poetry and pastoral scenes are moving away from us, perhaps due to the inevitable fate of modern people. As an artist with ideas, Lin Fengsu seeks a choice to return to his spiritual home and the natural countryside, which undoubtedly has an independent significance for his existence. Based on the above academic thinking, we take Lin Fengsu's poetic landscape as the theme, presenting his unique creation in poetic painting and his contribution to the modern transformation of Lingnan landscape. From the search for poetry to the construction of poetry, especially the localization and exploration of locality, different dimensions present the painter's modern transformation of the traditional connotation of the poetic theme in landscape painting.

The Cultural and Creative Link Project of Shenzhen Guanshanyue Art Museum - "Shanyue Living Room" is our museum's latest heavyweight art experimental project, dedicated to linking artistic creation and innovative practice, and promoting the revitalization and transformation of artistic resources.

Each issue of 'Shanyue Living Room' will collaborate with an artist to engage in deep co creation, transforming their original art into portable, usable, and collectible cultural and creative treasures. This is not only a continuously growing experimental field, but also dedicated to integrating warm art into daily life, bringing sincere and unique creations into the public eye.

Through this plan, we hope to explore a sustainable and replicable mechanism for supporting public art museums. Through the development of collaborative cultural and creative works, not only does it promote artistic creation into public life, but it also builds a virtuous cycle of "art product public".