1949年后，色彩在朱宣咸的作品中一直是重要的表现语言。或许是这位抒情诗人般的画家一直钟情于自然美，钟情于自然通过色彩所呈现出来的独特魅力。的确，他对充满生机绿色的偏好，对《嘉陵夕照》的橙红，对《江畔早晨》朝阳的橙黄运用，以及对深蓝色月夜的表述，都是非色彩而不能表现的美。
 

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        "偶然间，我来到鹅岭公园榕湖边的树荫下，顿觉一股凉意沁人心田"。(朱宣咸)

        1960年，在被称为"火炉"重庆的一个炎炎盛夏连晴高温的日子，酷暑难耐中的朱宣咸是多么希望能有一个和平宁静的清凉世界。

        以重庆鹅岭公园内的榕湖与绳桥为表现对象的《榕湖滴翠》，正是表达了他那时的这种感受与心境。

        该作品1960年入选由黄永玉主编、在香港出版的大型画册《中国现代版画》，有海外媒体专题撰文评论该作品，赞赏这是“表现了一个和平宁静的清凉世界”。

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.