這幅作品不以傳統山水的層層皴法鋪陳，而以大面積色層的堆疊、暈染與推移構成山勢。顏料在畫面上交融、暈散，山形不是被「畫出」，而是在色彩的潮汐裡慢慢浮現，使空間停在具象與抽象之間，沉靜而有層次。

它仍保留東方山水「可居、可行、可望」的精神，但語彙更接近西方抒情抽象：色塊不服從透視，而以節奏與重量建立秩序；筆觸的自由，讓山與雲、光與夜化作情緒的場域。

月色不靠線條界定，而以亮度在色層裡自然浮起；山居亦不喧嘩，只是一處悄然落定的溫柔所在。於是《山居月色》像一次語言的轉換——在東方山水的精神底蘊之上，打開更當代的觀看方式：心有歸處，夜亦生光。

Departing from traditional brushstrokes, this artwork constructs mountains through broad fields of color and layered diffusion.Pigment merges and disperses like an oceanic tide, allowing the scene to hover between figuration and abstraction—calm, richly layered, and evocative.

While retaining the classical spirit of a “place to dwell and contemplate,” the visual language leans toward Western lyrical abstraction. Freed from linear perspective, the mountains and clouds transform into an emotive field of light.

Moonlight rises naturally through variations in luminosity, creating a quiet presence where the heart finds its resting place and the night begins to glow. Rooted in the heritage of Eastern landscape painting, it proposes a more contemporary mode of viewing.