我跟學生們講，什麼東西都可以畫，什麼東西都可以用，只要能表達出自我心中的意念即可。所以我偶爾在氣定神閑時，也會拿起什麼東西任意拓染，然後再收拾成為一個有機的山啊水啊，在這隨意塗鴨的過程中會獲得極大的愉悅，相信這也是許多畫者共有的一種體驗。

我認為一幅畫的精髓是在畫者所要呈現出來的內心世界，而不是複製出來的呆板風景。

就以「皴法」來說，以前跟老師學習的什麼披麻、解索、斧劈、雨點……這些皴在台灣全然看不到。台灣的山岳幾乎都被植被覆蓋，用「毛巾皴」就很可以表達出山澤植被風吹草動的樣子。至於斧劈、雨點、披麻等等，要在大陸窮山惡水那兒才看得到，我們既沒看過，也就畫不像。所以依我看，複製大陸山水的那種畫法就顯得呆板無趣了。

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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責任編輯：昌英