中文 
en 
Throughout history, artists have been passionate about depicting the lotus, not only because it is the most beautiful flower, but also because it embodies the essence of the five grains without bearing their name, fulfilling the benefits of a thousand flowers in bloom while eliminating their drawbacks. Moreover, the lotus "emerges from mud yet remains unstained, is washed by ripples yet remains unassuming; its stem is straight, unbranching, its fragrance travels far and pure, graceful yet firmly rooted—thus, seen from afar, it is utterly free of pretense." Therefore, those of upright character in officialdom are described as "a first-rank lotus," those from prosperous families as "affluent and noble," and those with many children and grandchildren as "many children, many lotuses." The lotus constitutes a quintessential image in our traditional spiritual beliefs.
Zong Baihua, in his work "Aesthetic Strolls," argued that "Han dynasty bronzes and pottery, Wang Xizhi's calligraphy, Gu Kaizhi's paintings, Tao Qian's poetry, and Song dynasty white porcelain—all embody the beauty of 'the lotus first, natural affection.' He considered the aesthetic preference of 'the lotus first, natural affection' superior to the aesthetic context of 'colorful gilding.' By capturing the image of the freshly emerged lotus blossom, naturally beloved, and its clear, profound energy, he encapsulated the quintessential aesthetic representatives of Chinese civilization since the Han dynasty, endowing the lotus with noble spiritual qualities and constructing its elegant aesthetic character."
May we all be like the lotus—pure, blooming brilliantly.