人们说茶禅一味，饮茶如悟禅，禅有一味也有百味，画画也是如此。自2000年我的绘画逐渐脱离开以往的抽象色彩或细密的黑白线条组织方式以来，一直在探讨如何表现禅意禅趣。说到禅，人们总以微言大义，玄虚诞妄，处处禅机联系在一起。其实禅不是信仰，不是宗教也不是应万般需求的灵丹，它是一种心境，“远观山有色，近听水无声”，“入林不动草，入水无波动”如清水般的大智慧。

    我喜欢宋人的画，那些画似乎是画家们深入到了山水花鸟的境界之中，自然而然的消失到了里面。他们不是隐者，而是换了一种角度，强调了一种意蕴，特殊的形式，在静水印月般的世界里观照一切。

    中国传统深厚，圣贤多，有时不知听谁的好，其实把它们放在历史的长河中去比较，就会发现每个时代都有非常明确的风格样式，是用最简洁的看似直接的手段，借几乎固定的程式化语言去塑造出心中的而非眼中的树木花果，云雾山川。他们不断的重复着，却又像是不断的发展变化，表露着不一样的心境。这几年我的创作一直在寻找中国传统绘画语言中那种精神层面上的符号，就象宋人的画那样，把复杂的禅理，通过简洁的符号化处理，阐述的透明起来，让人们从中获得一种崇敬完美的感受，一种宁静致远的意境。

    很多时候，我喜欢用线造型，几乎所有的画面上都存留着或直或曲或粗或细的线条，并且线不是以规划形的意义存在，也不是国画中十八描之类的线，而且贯穿画面，起到引导视线的直观作用。线是许多画家离不开的造型手段，视为形之根本，与之相比，我在画面上使用的线不同于极为讲究的画线勾勒之法。而是选用带有飞白或断续感的线形，并且数量上非常的少，在对比力度上求极端，从而尽可能的给人们带来一种原创意味的美学样式。

    除了线之外，符号的特定作用也是近期比较注重的问题。不仅是形象的符号化处理而且使用符号的范围即固定，特征也尽可能的保持完全一致。这是一种尝试，具有一定的冒险意味。但我喜欢这种方式，因为从另一方面上说它更象是一种心智游戏。把手段、技巧和复杂的造型隐藏到了画面背后。人们直接去面对形象，用单纯、简洁、清晰的形式和明了的构形，没有比这些更引人入胜的了。用这种看似简单的编排手法处理画面需要很好的预测力。一条线是一个空间，一个点也是一个空间。画无须让人看的透彻，它不是小说、不是戏剧、不是电影，它像舞蹈、音乐，留得一点思考的余地也许更能找到知音。马克斯·魏勒说：“易即是难，难既是易。”一种禅味，一种哲学，用一根线去代表一切，用一个侧坐的人影暗寓思考，一切变得心性澄明。

It is said that understanding Zen is like appreciating tea as Zen consists of varying flavours as well. And this applies to painting too. Since my deviation from using colours abstractly thin black and white lines in 2000, I have been exploring how to express the meaning and my interest in Zen. When it comes to Zen, people tend to think of it as consisting of lofty works with profound meaning, mysterious and difficult to understand and that its meanings can be found everywhere. However, Zen is neither faith nor religion, or a quick solution to any problem. It is, in fact, a kind of mental state and contains such clear wisdom in which one ‘sees colours amongst distant mountains and hears no sound when beside a flowing stream’, and ‘enters the woods without disturbing the grass or the waters without causing any wave’.

I enjoy viewing paintings from the Song Dynasty as they seem to have been painted with the artists going deeply and disappeared naturally into a word full of mountains, water, flowers and birds, They were not reclusive but they changed a certain perspective of thinking, emphasized a sort of connotation through a distinct manner and contemplated all things in a seemingly tranquil world.

With China deeply rooted in tradition and having many sages through the ages, it is sometimes difficult to determine whose teachings are the most appropriate. Yet , if there is a comparison to be made, one can discover that each period of history had its own distinctive style in which the trees and woods, flowers and fruits, clouds and fogs, mountains and waters were drawn as what they were in the painters’ imagination instead of what they saw in plain sight, with the simplest and direct method. They made constant repetitions and yet at the same time appeared to make continual developments and changes, revealing a different frame of mind. During these past few years, I have been constantly searching for symbols embedded in Chinese traditional painting. Just as in the paintings from the Song Dynasty, I want to make use simplified symbols to better explain complicated Zen philosophy ,so that people can gain a feeling of perfection and attain a state of quietude.

I like to make frequent use of lines in my compositions and almost at of my work consists of them, be they straight, curved, thin or thick. They do not exist just to outline shapes or depict things such as in the eighteen line-drawing techniques of Chinese ink-painting; but serve to guide my vision onto the paper. Lines are indispensable to many artists in their creations and are regarded to be the basic element of forming shapes. In comparison that I use are different those meticulous outlines; what I use are instead ‘hollow’ or interrupted lines which are applied to a very minimum, presenting an extent of contrast and extremes so as to give sense of my original aesthetic style.

Apart feom lines, I am also paying more attention to the specifics of symbols. It is not just handing the appearance of these symbols but also to maintain as much of their distinctive characteristics. This is a type of exploration and does have a certain degree of risk. However , I am enjoying it as it seems to be more like an intelligence game compared to painting when viewed from another aspect because the methods used, techniques applied and complicated modeling are hidden the surface. People can then view directly the images of pure, simple, and clear forms and shapes; nothing else will be more fascinating than this. Good foresight is needed to be to use such simple arrangements onto paintings in which a line or a dot can both represent a type of space . A work of art needs not to be viewed so thoroughly as in a novel, drama or movie; it is more like dance or music which leaves some leeway for the imagination and this can perhaps admirers. As Max weiler has said: “easy is difficult and difficult is easy”. Thus , I am explaining Zen philosophy by using a line to represent all and a sitting figurine to imply thinking, so that everything will become clear in our minds and hearts.