幽趣（彩墨）
我跟学生们讲，什么东西都可以画，什么东西都可以用，只要能表达出自我心中的意念即可。所以我偶尔在气定神闲时，也会拿起什么东西任意拓染，然后再收拾成为一个有机的山啊水啊，在这随意涂鸭的过程中会获得极大的愉悦，相信这也是许多画者共有的一种体验。
我认为一幅画的精髓是在画者所要呈现出来的内心世界，而不是复制出来的呆板风景。
就以“皴法”来说，以前跟老师学习的什么披麻、解索、斧劈、雨点……这些皴在台湾全然看不到。台湾的山岳几乎都被植被覆盖，用“毛巾皴”就很可以表达出山泽植被风吹草动的样子。至于斧劈、雨点、披麻等等，要在大陆穷山恶水那儿才看得到，我们既没看过，也就画不像。所以依我看，复制大陆山水的那种画法就显得呆板无趣了。
Profound Magnetism/ink and color painting
I tell my students that they should paint whatever they want to paint as long as they can convey their ideas. Occasionally, when I’m feeling relaxed and at ease, I’ll start coloring a sketch of any old thing, and then transform it into a living landscape of mountains and streams. This kind of doodling gives me a great amount of happiness, and I think many other painters have also had this experience.
I believe that the essence of a painting is the expression of the painter’s inner world, and is not just replication of some stereotyped landscape.
As far as “texturing methods” are concerned, use of the “scattered hemp,” “unlocking,” “axe stroke,” and “raindrop” methods that I learned from my teacher in days past is completely unknown in Taiwan. Taiwan’s mountains are almost completely covered in vegetation, so “towel texturing” is quite adequate to convey the grass blowing in the wind on Taiwan’s lush mountains. As for the “scattered hemp,” “axe stroke,” and “raindrop” methods, these techniques are really only suitable for China’s bare mountains and precipitous streams. Since we don’t see these things here, we use different methods in paintings. In my viewpoint, trying to replicate the techniques used in Chinese landscape painting is unimaginative and uninteresting.@
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责任编辑：昌英
