As Nikolai Leushin recounts, the painting "Carps" was painted in the same vein as the painting "Strait":
In the shadows of our familiar reality, a whirlwind of illusions sometimes simmers, and tea drinking is among them. Take a closer look: inside the gaiwan, there's only tea, but carp, like mocking creatures from the shadows, swim out of the ocean of tea, spilling beyond the gaiwan's boundaries, absurdly yet meaningfully, upending our familiar notions of parallel and alternate worlds.
In such a projection, the real world, where I am an invisible traveler seeking a path from one illusion to another, eludes me. And then, suddenly, at the bottom of the gaiwan, only the transparent shadows of carp remain, hinting that truth, like tea, is hot, but often invisible.
And as I immerse myself in this world of tea illusions, I become fully aware that every movement has meaning. The subtle curve of the gaiwan, the gentle rolling of the tea around the rim of the cup—it's all a kind of dance, where every gesture reflects inner experiences. We, like carp, swim through slow time, aware that change comes quietly and imperceptibly, like ripples on the surface of the water.
Perhaps it is in this perception that I find the connection between reality and dream, where carp become symbols of hope and tea a reminder of simple joys. With breaks for sips, I discover a world hidden behind the familiar shell, alive in every moment, holding sacred truths.
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