In Towards Remote Antiquity, water streams seem to suspend from the fragmented rocks, while in Flying into Fairyland, they cascade in a stepped progression. The segmented lines dividing the scene exaggerate the tectonic forces that fractured the rocks, while also capturing the artist’s experience of climbing them—pausing briefly between ascents. In Chen Duxi’s observation, the water glides in a thin, almost imperceptible veil over the stone, so subtle it seems to vanish. This silken film caresses the rugged bed, contrasting the hardness of the rocks with the ethereal lightness of the flow. In the painting, fine, short lines evoke the delicate yet persistent movement of water as it travels, layer upon layer, down the stacked stones. Though gentler than the turbulent waters in other Contemplate series works, this subtle stream leaves its mark over time, imprinting its presence on the rock. Fleeting yet powerful, the gentle water transcends time, carving its story into the enduring stone with quiet persistence.

《飘逸》

如果说《高古》中的瀑布好似水柱悬浮于岩石之间，《飘逸》中的水则阶梯式地流淌。横跨画面的分割线以夸张的表现形式表现地质运动导致的岩石崩裂，同时也捕捉了艺术家一段一段攀爬这些岩石时的视觉和身体体验。在陈督兮的观察下，汩汩水流漂过石头表面，浅浅的一层，有时甚至看不到水纹，似有似无。一重一轻，石头的坚硬与水流的飘逸形成对比。画面中细且短的线条依旧表现出了水薄薄的流动感，孜孜不倦地一层一层从堆叠的石头上流下。这些流水虽不如其他作品中的水充满了动力，日积月累，依旧在岩石上留下一条条痕迹。轻逸的流水，同样也有超越时间的力量。