1949年后，色彩在朱宣咸的作品中一直是重要的表現(xiàn)語言。或許是這位抒情詩人般的畫家一直鐘情于自然美，鐘情于自然通過色彩所呈現(xiàn)出來的獨特魅力。的確，他對充滿生機綠色的偏好，對《嘉陵夕照》的橙紅，對《江畔早晨》朝陽的橙黃運用，以及對深藍色月夜的表述，都是非色彩而不能表現(xiàn)的美。
 

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        "偶然間，我來到鵝嶺公園榕湖邊的樹蔭下，頓覺一股涼意沁人心田"。(朱宣咸)

        1960年，在被稱為"火爐"重慶的一個炎炎盛夏連晴高溫的日子，酷暑難耐中的朱宣咸是多么希望能有一個和平寧靜的清涼世界。

        以重慶鵝嶺公園內(nèi)的榕湖與繩橋為表現(xiàn)對象的《榕湖滴翠》，正是表達了他那時的這種感受與心境。

        該作品1960年入選由黃永玉主編、在香港出版的大型畫冊《中國現(xiàn)代版畫》，有海外媒體專題撰文評論該作品，贊賞這是“表現(xiàn)了一個和平寧靜的清涼世界”。

After 1949, color has always been an important means of expression in Zhu Xuanxian’s works. Maybe the painter, with his lyricist style, is always fond of the natural beauty and the unique charm of the nature demonstrated by colors. Indeed, his preference to the green vitality, the salmon in Sunset on Jialing River, the orange morning sun in Morning at Riverside, and the depiction of deep-blue moon night, are all the beauty that is only possible through the use of color. 

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“Occasionally, I went to the tree shade at the side of Banyan Lake in E’ling Park, I immediately felt refreshed with the coolness”. (Zhu Xuanxian)
 

In that hot summer day of 1962 in Chongqing, how Zhu Xuanxian wished to have a cool, refreshing and peaceful world!
 

The Banyan Lake in Dripping Green lays the scene in the Banyan Lake and Rope Bridge in Chongqing E'ling Park, showing such a deep feeling and mood at that moment.