此集以「瀚墨玄音」為題，「瀚墨」即以積墨積彩成瀚漫無邊此次展覽以「瀚墨玄音」為題，「瀚墨」即以積墨積彩成瀚漫無邊之藝術大洋之藝術大洋。而此中的「玄音」就是從宋代惟信禪師所說：「見山是山，見水是水；後來見山不是山，見水 不是水；最後見山祇是山，見水祇是水。」的境界，再上一層樓，達到「見山無山，見水無水，無中有象，象中有聲，是為玄音。」為配合這個主題，從多年來的作品中選出？件收入畫冊。媒材以墨為主彩為輔，不含色彩繽紛之作。風格從具象到抽象，但不包括寫實畫，只選富有想像空間和神秘意味的作品。
This collection is entitled “The Occult Sound of Ink Ocean”, which means that the field of cumulate color-ink turns into an artistic ocean that gives forth mysterious sounds. This is an inspiration from Weixin, a monk of the Song Dynasty, who said, “(In the process of meditation,) at first when you look at mountain and water, you see mountain and water (in general). Then when you look at mountain and water, you (giving up everything) see no mountain and water. Finally, when you look at mountain and water, you (in contemplation) see only mountain and water.” My painting goes a further step: When you look at mountain and water, there is no mountain and water. It is empty, but there is light sound; as Laozi said, “Light is loud”, it is mysterious so called “occult sound.” To match this subject, the paintings for this monograph are done with more Chinese black ink and less bright colors. In style, they are either surrealistic or abstract, which evoke mysterious atmosphere with space for imagination
此集以「瀚墨玄音」為題，「瀚墨」即以積墨積彩成瀚漫無邊此次展覽以「瀚墨玄音」為題，「瀚墨」即以積墨積彩成瀚漫無邊之藝術大洋之藝術大洋。而此中的「玄音」就是從宋代惟信禪師所說：「見山是山，見水是水；後來見山不是山，見水 不是水；最後見山祇是山，見水祇是水。」的境界，再上一層樓，達到「見山無山，見水無水，無中有象，象中有聲，是為玄音。」為配合這個主題，從多年來的作品中選出？件收入畫冊。媒材以墨為主彩為輔，不含色彩繽紛之作。風格從具象到抽象，但不包括寫實畫，只選富有想像空間和神秘意味的作品。
This collection is entitled “The Occult Sound of Ink Ocean”, which means that the field of cumulate color-ink turns into an artistic ocean that gives forth mysterious sounds. This is an inspiration from Weixin, a monk of the Song Dynasty, who said, “(In the process of meditation,) at first when you look at mountain and water, you see mountain and water (in general). Then when you look at mountain and water, you (giving up everything) see no mountain and water. Finally, when you look at mountain and water, you (in contemplation) see only mountain and water.” My painting goes a further step: When you look at mountain and water, there is no mountain and water. It is empty, but there is light sound; as Laozi said, “Light is loud”, it is mysterious so called “occult sound.” To match this subject, the paintings for this monograph are done with more Chinese black ink and less bright colors. In style, they are either surrealistic or abstract, which evoke mysterious atmosphere with space for imagination
