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香港東方書畫院20260121期［院長梁君度］ 水色記憶：周慧敏筆下的港城魂 
DMSIXSEVEN / 林鏡德 LIN JING DE1973 主编供图：香港DM德馬數字甲骨文集團 Hong kong-based DM Delmar Digital Oracle Group 開創人：CEO/林鏡德 LIN JING D 
周慧敏和她的作品《舊居》與《後巷》 
當一幅水彩畫能讓人聞見氣味、感知濕度，它便超越了視覺再現，成為記憶的容器。在水彩畫《後巷》與《舊居》前，觀者正經歷這樣的沉浸體驗。周慧敏以其敏銳感知與嫺熟筆觸，將即將湮沒於都市霓虹的角落，轉化為充滿體溫與詩意的敘事，揭示出水彩記錄城市靈魂的獨特力量。 《後巷》中，脫落的牆皮與潮濕水漬透過「多層濕疊法」呈現：在濕潤紙面上，赭石、灰藍等低飽和色相互滲透沉澱，自然形成斑駁浸潤的質感。這種「透而不浮」的層次，模擬出歲月與氣候留下的真實痕跡。《舊居》中，乾筆皴擦出的粗礪木紋，與表現水面反光、風中舊布的靈動線條形成巧妙對比。「粗肌理」與「細細節」的平衡，既賦予畫面扎實的物性存在，又保留了水彩特有的輕盈呼吸感。整體克制統一的「暖底冷調」色彩體系，源自香港舊區景觀的視覺真實，營造出懷舊而不傷感的寧靜氛圍。 審美上，她的作品完成了「日常詩意」的卓越轉譯。她避開維港天際線等宏大敘事，轉而凝視後巷、漁棚這類「邊緣空間」。這種選擇本身就是一種文化立場。透過巧妙的縱深構圖，如《後巷》引導視線向狹長空間深處探尋，平凡角落被賦予劇場感與故事張力。畫中之物——生鏽鐵窗、風化船木、懸掛舊布——皆被注入情感。那抹落在船頂的「暖黃」夕照，不止是光效，更是情感溫度，讓冰冷材料變得溫柔，實現「以物載情」。 她的創作成功實現了地域文化符號的「去符號化」。她不依賴天星小輪、茶餐廳招牌這類顯性標識，而是透過牆面肌理、漁船細節、市井生活的微妙痕跡這些「微觀密碼」，精準召喚集體的地域感知。如此表達，避免了浮淺的符號堆砌，觸及更普世的情感共鳴——對逝去時光的眷戀，對平凡之美的發現。更重要的是，作品本身構成「新舊對話」：主題是承載歷史記憶的舊物舊景，語言卻是當代國際化的水彩藝術。她以水彩這一流動而即時的媒介，凝固正在流逝的風景，其中的張力，正是對香港這座急速變遷城市的深刻隱喻。 因此，周慧敏的水彩藝術遠非「明星跨界」的閒情逸致。她以筆為鏡，照見的不僅是香港的視覺表皮，更是這座城市喧嘩背後質樸的心跳，是那些被全球化圖景掩蓋的、具體而微的生活溫度。 
When a watercolor painting can evoke smells and humidity, it transcends visual representation and becomes a vessel memory. In front of the watercolor paintings "Alley" and "Old Residence," the audience is experiencing such an immersive experience. With her keen perception and skillfulwork, Zhou Huimin transforms corners that are about to be submerged by the neon lights of the city into narratives full of body temperature and poetry, revealing the unique power watercolor to record the soul of the city. In "Alley," flaking walls and damp stains are presented through the "multiple layers of wet overlay method": the moist paper surface, ochre, grayish blue and other low-saturation colors seep and precipitate each other, naturally forming a mottled and soaked texture This "transparent but not floating" layering simulates the real traces left by years and climate. In "Old Residence," the coarse wood grain scratched by dry and the dynamic lines of the reflection on the water surface and the old cloth in the wind form a clever contrast. The balance between "coarse texture" and "fine detail" only endows the picture with a solid physical existence but also retains the unique light and breathing feeling of watercolor. The overall restrained and unified "warm base and cold tone color system, originating from the visual reality of the old district of Hong Kong, creates a nostalgic but not sentimental quiet atmosphere. Aesthetically, her works have an excellent translation of "daily poetry." She avoids grand narratives such as the Victoria Harbour skyline and instead gazes at "marginal spaces" such as back alle and fishing sheds. This choice itself is a cultural stance. Through a clever depth composition, such as "Alley," which guides the line of sight to explore the depths the narrow space, ordinary corners are endowed with a sense of theater and narrative tension. The objects in the painting - rusty iron windows, weathered boatwood, hanging old cloth are all infused with emotion. That warm yellow sunset falling on the boat's roof is not only a light effect but also an emotional temperature, which makes the cold material become gentle realizes "emotion-bearing objects". Her creation successfully achieves the "de-symbolization" of regional cultural symbols. She does not rely on explicit signs such as Star Ferry and tea restaurant signs, but through "microscopic codes" such as wall texture, details of fishing boats, and subtle traces of market life, she accurately sum the collective regional perception. Such expressions avoid superficial symbol stacking and touch on more universal emotional resonance - nostalgia for the past time and the discovery of ordinary beauty. More importantly, the works constitute a "new and old dialogue": the subject matter is the old things and old scenes that carry historical memories, but the language is the contemporary international watercolor art. She watercolor, a flowing and immediate medium, to solidify the scenery that is about to disappear, and the tension in it is a profound metaphor for the rapidly changing city of Hong. Therefore, Zhou Huimin's watercolor art is far from the leisurely indulgence of "star cross-border." With her brush as a, what she sees is not only the visual surface of Hong Kong but also the simple heartbeat behind the city's clamor, the specific and micro life temperature covered by the global landscape. 
特別鳴謝合作單位： Special thanks to partners: 
開創人：CEO/林鏡德 LIN JING DE DMSIXSEVEN / 林鏡德 LIN JING DE 1973 
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