The Devils' temptation 02, Ink, postercolor, 109.5 x 78.7 cm

The painting skillfully captures the intricate moments of succumbing to wicked temptations. Set against an archway adorned with a tree motif, the painting presents a diverse array of mythological characters, including human-headed characters, a centaur, a mermaid, and a dragon. These characters entice both individuals and fellow demons, leading them towards forbidden desires and awakening their inner darkness. The painting delves into vices such as greed, lust, envy, anger, and pride. Through its use of various techniques and imagery, the painting blurs the boundaries between gods, angels, and demons, urging viewers to question their place in a in heaven or hell. It encapsulates the contradictions and irresistible allure that life encompasses.

The painting explores the intricate symbolism of winged characters, representing the dual nature of demons and angels. The central figure, with its wings and crown, embodies a deity of justice wielding scales, reminiscent of ancient Egyptian beliefs. These scales, hearts, and feathers of truth were used for judgment and rebirth. The mermaid, on the other hand, embodies both the enchanting temptress of folklore, luring sailors to their demise, and the benevolent figure sacrificing for love in fairy tales. These elements invite contemplation on the complexities of good and evil, judgment, and the multifaceted nature of mythical beings.

Pan, traditionally portrayed as a malevolent demon of lust, is reimagined in the painting as a female human-headed sheep, symbolizing the growing acknowledgment of women's sexual autonomy. The centaur, often associated with anger and violence, wields a bow and arrow reminiscent of Cupid's love-infused weapons, blurring the line between harm and love. This thought-provoking portrayal engages viewers with its captivating narrative.

The painting features a captivating image of a half-human, half-snake demon engaged in a passionate kiss with a human, creating a sense of dominance as the human figure is positioned above the demon. This composition raises questions about who is seducing whom, blurring the line between the human's influence and the demon's power. The demon, with a human head and avian body, delicately clasps the human with its claws, while the human partially conceals their face behind a fan, suggesting hidden intentions and acts of transgression. This interplay of power dynamics and hidden motives adds depth and complexity to the painting.

In different cultural traditions, dragons can represent either malevolent and savage demons in the West or auspicious and benevolent beings in the East. The painting depicts a human figure gently caressing the dragon's form while holding a crown symbolizing wealth and power. This gesture can be interpreted as either bestowing or succumbing to temptation, blurring the distinction between being tempted and being the tempter.This painting resonates with the complexity and allure of the human experience, providing a profound opportunity for introspection. It encourages individuals to confront their inner shadows and excessive desires, ultimately leading to self-redemption through deep reflection.

PLEASE NOTE: Original painting is also available.

畫中出現了神話中的人首羊身、人首蛇身、人首鳥身、人馬、人魚、龍等惡魔正在引誘人們甚至其它魔鬼來釋放不當的慾望，使對方表現出貪婪、色欲、嫉妒、憤怒、驕傲等黑暗面。他們用不同的方法和工具來互相誘惑，讓人分不清眼前的是神、天使，還是魔鬼，身處在天堂還是地獄。畫如人生，充滿了許多的予盾與誘惑。有如翅膀是惡魔也是天使的特徵，畫面中間帶翅膀的角色既可以解讀成惡魔，也可以解讀成手持正義天秤的天使或神，在古埃諸神的審判中，天秤、心臟、真理羽毛是用作判斷人是否有罪及能否復活的工具。而人魚角色在古代神話中是以歌聲魅惑水手將其殺害的惡魔，在童話中却是為愛犠牲的善良角色。人首羊身的潘在傳說中是代表色慾的男性惡魔形象，但畫中把傳統的男性改成女性形象也代表當代女性的性自主意識抬頭。人馬在神話中是有著憤怒和暴力的形象，但畫中的人馬手持的弓箭却是愛神丘比特的愛心弓箭，分不清是要殘害對方還是在發射愛神之箭。而半人半蛇形象的魔鬼與人類親吻交纏在一起，身在上方的人類看似在主導身在下方的魔鬼，到底是人在誘惑魔鬼還是魔鬼在誘惑人。人首鳥身的魔鬼用爪子輕抓住人類，人類也用扇子半遮面，看似正在相討密謀壞事中。而在西方，龍是代邪惡殘暴的魔鬼，但在東方却是吉祥善良的神獸，輕撫龍身的人類手持代表金錢與權力的皇冠，可以解讀成正在給予或正在接受，是正在誘惑也可以是被誘惑。正如人世間充滿了各式的矛盾與誘惑，這幅畫作正提供一個機會讓人直面自己內心的陰暗面及過多的慾望，在反思中獲得自我的救贖。