走入畫中

小學六年級時每週有二節美術課，下學期臨畢業前，美術老師張松柏帶我班去寫生。我畫了一張日式房舍，幾棵椰子樹。不久後張老師告訴我說，我畫的那張畫他認為很不錯，要代我寄往韓國比賽。接著我畢業了。
初中一年級下學期的一個午休，飯後我喜歡獨自去森林苗圃走走，那天當我走進園內，看到二個同學不知哪年級哪班人，在相互丟泥塊，突然之間拳頭大的土塊直接向我砸來，冷不防打中我的右眼，我整個人趴在地上，痛得不知方向。回家後父親用絲瓜片敷我眼，從此我右眼的視力很差。也許那時候我喜歡畫畫，也抱著張老師給我的一分鼓勵，知道眼力差之後，就死了畫畫的心，心也就空了。
畢業之後在棲蘭山工作，一年四季看雲霧霜雪的變幻，開始喜歡山水攝影，買了一部最簡單的雙眼相機，這是唯一的嗜好。其實就因為家窮，才讀職校，父母之外，共有十一個兄弟姐妹，無叔叔伯伯，無舅舅姑姑，無強近之親，單靠父親一人雙手做生意微薄撐家，簞食瓢飲，樂也融融，就這樣以工作為重，為工作而活，其他從不上心，之後在不可違信與無可奈何中，每六年換一份全新的工作，不過不管環境如何變遷，只要有空閒時總會提起鉛筆，在紙上胡亂塗鴉。
我的經歷說來話長，也令人難信，就如有人說跨度太大了。又好像冥冥之中，路就是如此安排，自己只好如此走去。不是說不才明主棄？我感覺遇到不明主很難，就以在今日園藝景觀設計工作來說，老闆都是仁慈的，員工一粥一飯皆其所賜。我老爸說天配米養人，不是人養人。我深信，但又很難有實情支持。有一天老闆慎重的對我說，不再發基本工資給我，我應以委託設計費為薪資，就因為最近我成就了公司員山國小的景觀設計美化工程完工，我獲得了十幾萬的設計費，此費為委託戶所支付，公司獲得的施工利潤可觀。老闆既然開出了條件，我無法接受，當下走人。
這是決定走入畫中的緣由，當初的想法很簡單，我想在二年內畫出一百幅畫，開個畫展，讓親朋好友知道我也會畫。畫什麼呢？畫山水吧！孔子說至美素樸，黑白也。黃賓虹說畫分十三科以山水為上，山水以水墨為上，寫自然之性，亦表我人之心。說得我滿心喜歡。
決心畫山水，一支筆、一塊墨、一張紙。千山千水千樹，不就是一張畫嗎？這時我五十三歲。
去留一無所繫，來往自有定天，浮生若夢誰非寄，隨遇能安即是家，爬過多少山，有多少山留住心中，走過多少路，多少成為記憶，不做有意義的事，人生難得有意義，繼續畫畫，繼續篆刻，繼續想為美留下篇幅，繼續以自己的能力，開闢另一類途徑。
有人說藝術使自然更完美，藝術是模仿自然而不是抄襲自然。中國的山水畫，必有山或有水，山靜則養性，水動則慰情，先知道山水的含義，才能體會山水畫的境界，故山水重在意境，是一個理想，一個可歌可詩可頌可詠，可遊可樂可居可流連的理想地方，甚至表現了中國的風水觀念。當一幅畫呈現在前，要先感動畫者，才能感動所有觀看的人，這不只是美的問題，而是感知的問題，山水畫一般都是無其實者，或有則已被改造刪減增繁，因為山水是畫者創造的另一個天地。太像一個地方就索然無味，太不像就不知其所以，要在像與不像之間，任君推敲，咀嚼玩味，品畫要慢，不像品茶喝了回味。嶺上多白雲，只要你佇足，依然可怡悅，人於天地之間，滄海一粟，獨樂不如眾樂，畫所知的，博君一納，人生也。
Walking into the Painting
When I was in sixth grade, we had a two-hour art class each week.During the second semester, just before graduation, our art teacher, Mr.Chang Songbo, took us on a field trip to do some sketching. I drew apicture of a Japanese-style house with a few coconut trees. Not long after,Mr. Chang mentioned that he thought my drawing was quite good andwanted to submit it to a competition in South Korea on my behalf. Shortlyafter that, I graduated.
In the second semester of my first year in junior high, I often tooksolitary walks in the forest nursery during afternoon breaks. One day, as Ientered the park, I noticed two peers throwing mud at each other, though Ididn't know which grades or class.they were in Suddenly, a fist-sized clodof dirt struck my right eye, leaving me disoriented and in pain.
When I got home, my father placed luffa slices over my eye. Sincethen, my vision in that eye has worsened. Back then, I was passionateabout drawing and encouraged by Mr. Zhang, I had always held on to thispassion. The realization of my impaired vision dampened my enthusiasmfor drawing, leaving me with a sense of loss.
After graduation, I worked in Qilan Mountain, where I observed thechanging clouds, mist, frost, and snow throughout the seasons. Thissparked my interest in landscape photography, leading me to buy abasic twin-lens camera, which became my only hobby. Due to financialconstraints, I attended vocational school. With eleven siblings and nouncles, aunts, or close relatives to rely on, my father supported us allthrough his modest business. Despite our humble means and simple living,we were content and found joy in our daily lives.
I immersed myself in work, paying little attention to other aspectsof life. Later, bound by obligations and helpless circumstances, I foundmyself switching to a completely new job every six years. Regardless ofhow things changed, I always find myself doodling with a pencil wheneverI had free time.
My experiences are long and might seem unbelievable, as if someonecould say the range is too wide. It feels as though fate has mapped out my path, and I have no choice but to follow it. It's not a matter of lackingtalent or being abandoned by a wise leader; rather, it is challenging to finda truly discerning leader.
Take my current role in landscape design at Jinri HorticulturalLandscape, for example. The boss runner is kind, and the employeesare well-provided for. My father used to say, "Heaven provides rice tosustain people; it is not people who sustain people." I deeply believe inthis, though tangible support can be hard to come by. Recently, the bossinformed me that my base salary would be discontinued, and I wouldneed to rely on design commissions for income. This change came aftermy successful completion of the landscape design project for YuanshanElementary School, for which I earned over a hundred thousand in designfees. The company also profited significantly from the construction. Giventhis new change, I found it unacceptable and decided to quit immediately.
This is the reason I decided to step into the world of painting. Atthe time, I wanted to create one hundred paintings in two years and holdan exhibition to show my family and friends that I could paint. I decidedto focus on landscapes. Confucius believed that the highest beauty liesin simplicity and it is found in black and white, while while Huang Binhongcategorized painting into thirteen types, with landscapes being thehighest, and within landscapes, ink wash being supreme. This approach,which captures the essence of nature and reflects the human heart, deeplyresonated with me and brought me great joy.
For me, painting landscapes meant using just a brush, an ink slab, and apiece of paper. A thousand mountains, a thousand rivers, a thousand trees—aren't they all just one painting? At this time, I was fifty-three years old.
Leave behind what is irrelevant; let destiny guide you. Life islike a fleeting dream where everyone is merely passing through. Truecontentment comes from accepting whatever comes your way and findingyour home within it. Reflect on the mountains you've climbed and thepaths you've walked—how many remain in your heart, and how many havebecome mere memories? Life holds little meaning if we do not pursue meaningful endeavors. Continue painting and engraving, and keep strivingto create beauty. With my own abilities, I aim to forge a new path.
Art enhances nature's beauty by imitating it rather than merelycopying it. In Chinese landscape painting, both mountains and water areessential elements. Mountains offer tranquility to the spirit, while flowingwater calms the emotions. To truly appreciate landscape painting, one mustunderstand the significance of these elements. The essence of landscapepainting lies in its artistic conception—a perfect realm to celebrate, sing,praise, and enjoy; a place where one can wander, find delight, reside, orlinger, even reflecting traditional Chinese geomantic principles.
When a painting is presented, it must first resonate with the artistbefore it can move those who view it. This is not merely about beauty butabout perception. Landscape paintings are rarely literal; if they resemblereal places too closely, they can seem dull; if they diverge too much, theirmeaning is lost. One must find a balance between similarity and abstraction,appreciating it as one savors tea. Standing still on a ridge amidst manywhite clouds can still bring delight. In the vast expanse between heavenand earth, where one is but a grain of sand in the ocean, solitary joy is lessfulfilling than shared joy. Understanding a painting, like understanding life,is an exploration and appreciation unique to each viewer.

走入畫中

小學六年級時每週有二節美術課，下學期臨畢業前，美術老師張松柏帶我班去寫生。我畫了一張日式房舍，幾棵椰子樹。不久後張老師告訴我說，我畫的那張畫他認為很不錯，要代我寄往韓國比賽。接著我畢業了。
初中一年級下學期的一個午休，飯後我喜歡獨自去森林苗圃走走，那天當我走進園內，看到二個同學不知哪年級哪班人，在相互丟泥塊，突然之間拳頭大的土塊直接向我砸來，冷不防打中我的右眼，我整個人趴在地上，痛得不知方向。回家後父親用絲瓜片敷我眼，從此我右眼的視力很差。也許那時候我喜歡畫畫，也抱著張老師給我的一分...

推薦序

山水有佳音
二哥正林，人如其名，一生和山林泉壑結下不解之緣。讀的是森林科，年輕的歲月獻給了橫貫公路森林開發處，管山管水，並把山水的靈秀繪成一幅一幅的鉛筆山水畫。因為愛山，更自組足下登山社，帶著朋儕同好躋登臺灣的大小山嶽，將美麗的山水攝影成集，出版有《張正林攝影集》，美文佳景，斐然成篇，頗有可觀之處。
二哥的興趣廣泛，書法、繪畫、攝影、篆刻、景觀設計，均無師自通，沒有受過專業的訓練，以素人的直觀，繪畫胸中之丘壑，並且卓然有成。他設計的宜蘭員山國民小學校園，被稱為宜蘭縣國小的模範校園景觀。前幾年他退休客居北京，愛好藝術的習氣難改，趁著閑暇爬過大陸各大名山，諸如五嶽中的南嶽衡山、北嶽恆山、西嶽華山，佛教聖地的九華山及張家界、九寨溝、長城等名山大川，甚至六度攀登黃山。這回捨棄照相攝影，把青山的嫵媚形貌攝入阿賴耶識，在心海之中建構成山水畫軸，然後描繪成一卷一卷的黑白水墨。
在眾多兄弟姐妹中，我和二哥緣分很殊勝，當初大學選讀中國文學系，和受他的啟發有很大的關係。後來我擔任普門雜誌社社長、佛光出版社社長、人間福報發行人兼社長、佛光山文化院院長、財團法人佛光山文教基金會執行長等職務，都是緣於對文化傳薪工作的一分愛好與使命感。至於在高雄師範大學、南華大學、美國西來大學等學府教授佛教與文學的相關課程，則是對薪傳文化的一點熱忱與實踐。
有一年，我因事去北京，隨興去探望當時旅居北京的他，順口要求他教我繪畫，並且提出嚴苛條件：既要審美，又兼容易迅速。他建議我畫蓮華，因為蓮華是佛教植物中最具意境者，屢見於雕塑、繪畫的佛教藝術作品。為了讓我掌握蓮華的畫法，他幾度去大陸、臺灣的植物園，拍攝蓮華的清新風姿，並構圖自繪幾幅出水芙渠，作為我這素人的參考，準備好筆墨紙硯，只待東風吹起田田荷葉。
「何必絲與竹，山水有清音。」晉宋山水詩人謝靈運以他詩人的審美眼光，深厚的文學造詣，極盡模山範水之能事，寫下傳頌千年的山水詩篇。二哥則用一支古典中國的毛筆，來描摹自然山水，捨彩色而就水墨，是要在繁華落盡之後，見山水的真淳本色。
美好的東西應該與大眾分享，他在治療癌症期間，為了分散他的情緒，我半逼迫地慫恿他提筆創作，並且將他的作品在世界各地的佛光緣美術館展出，因此有美國西來寺美術館、西來大學、北卡羅萊納州佛光山、大陸宜興大覺寺、蘇州嘉應會館、揚州鑑真圖書館、臺灣高雄佛光山美術館、臺北道場美術館、宜蘭蘭陽別院美術館、宜蘭縣立文化中心等處的山水畫展饗宴，師父星雲大師還特地送給他「山水人生」的墨寶，成就一段山水審美因緣。
近年來他身體逐漸健朗，含飴弄孫之餘，水墨、篆刻、書法，多有可喜的作品，尤其是長卷的水墨山水畫，展現澄懷觀道、靜照忘求的壯美意境。我耽心他的作品日久恐會散失，佛光文化事業有限公司社長滿觀法師建議將之編輯出版，付梓在即，欣然為之添足代序!
佛光山文化院院長　依空法師

真實與自然 ── 張正林水墨藝術
張正林先生熱愛山林嶺風，也得之意趣性靈。或說他自始至此在於「聽於無聲，視於無形」（《淮南子》），自在承先於藝術表現，並及生活物象內蘊，而有出眾作品之創作。
雖然自謙目之所視，心之所感，對於山嶽林木之情感已入共感共融境界。此幾乎無師自通或說修為天成，事實上即是大地之廣、自然之性亦入其心性，而有驚人之筆墨呈現於畫面上。
「若夫應感之會，通塞之紀，來不可遏，去不可止」（陸機《文賦》）知音，張正林對於藝術造景，在於心性清真與自然應和，是項天機造境的抒發，其中在於人世間種種情思，並及造化變易的融合，有種妙趣天成，思緒湧現的表徵與圖象。也是「悲落葉于勁秋，喜柔條于芳春」（《文賦》）的現象。
當然，繪畫創作是自性與學習的成果，張正林自始即在「創意」上有先天的喜愛與才情，不論在工作的選擇或是受教育的過程中，與大自然的產業有直接、間接的關係，並且在退休之後，孕育於胸臆的自然景物，或是山林毓秀、煙雲迷漫的場域，勾畫出層層詩情畫意，因此有了中國繪畫中山林畫境與性靈，或是以攝影求真為憑的自然物象，進而層次進階為意象與心象。
即如繪畫美學中的表現與造境。其中他對於「中國繪畫者，水墨為上」的意涵，應用他敏銳觀察與心性結合的技法，令人第一眼即感受到清新脫俗，且氣勢磅礡。以心物應和中得有新意，雖有中國繪畫中的筆墨技法，卻是「心動于衷，聲出于心」（魏晉 ‧ 嵇康）的動能展現。
以其山水畫而言，綿延山勢有如龍藏虎臥之勢，亦如飽學詩書，嘯傲山林的內在。雖然他自認繪畫或其他相關的藝術創作，是他生活的需要，也是生命價值的表現，他也說「去留一無所繫，來往自有定天，浮生若夢誰非寄，隨遇能安即是家」的胸臆，但在有與無，實與虛的對照中，他在山水畫境除了傳統中的詩境、畫境，化解了分項的拘限，亦即是心靈、情思與性靈共感中，截然自成創作新品評。
作品中的「山在 人在 雲天在」、「自然在 在自然」等畫作確實令人耳目一新，也感佩來自他靈府心印，有如此清新與雅趣，可說是「萬變自溢於寸心，下筆天成，一息可通乎千古」（清‧ 沈宗騫）。即此，「當日池有縱聖稜」巨作，從造勢、風息與筆墨皴法，就其質感量體而言，均以入「蓋筆墨本是寫人之胸襟，胸襟既開闊，則立意自不凡」（沈宗騫）的表現，在視覺上感受到的造景造境與肌理、心象合而為一，所得之「澄懷以參名理，時有所會，而日有所得」的意趣。
中國繪畫藝術美學，實是一項綜合性的藝術表現，張正林先生的繪畫表現，除了充滿禪意、心志、修為的基本美學實踐外，心靈寄寓或生命實相才是他整體創作的風格。此亦是中國繪畫中的「詩、書、畫」同源與文學造境的特質。張正林在此機緣中，體悟自然、結合心志，在時空變易與轉換之中，把中國藝術美學融合為一，其中的書法與篆刻註記在畫面上，呈現更為深遠的寄寓，在「文人畫」的意義上，自發於胸臆的飽滿，以及東方神祕美學的信心，均可在他的作品展現。
以前人為師，承其形質造景；以自然為師，得其山林性靈；以志節為師，得其心象之抒發者，張正林先生的繪畫藝術，可觀可感，可遊可居，似乎就在煙雲彩光之間，閃亮一山明亮，造就一世大道。他的創作在物象之外，得其韻味迷漫，清真無限。亦得「目擊可圖，體勢自別」之實體外，一言而歸之「象外之象，景外之景」（唐‧ 司空圖）的境界，自家造極、藝術家之志趣、遊於藝的體悟與表現。
前國立歷史博物館館長、前國立臺灣藝術大學校長　黃光男

尋山水靈與天地，並小談張正林先生的畫
現代的人類，久居都市，整天囿於狹窄的居室，如林的廠房、擁擠的街巷，被喧囂和煩惱所圍困，胸襟日益變得狹窄，目光亦漸趨短淺，往往為點滴小事而斤斤計較，甚或為此而爭鬥不休，以致釀成戰事，此種情景，令人每每嘆息，世風日下，今非昔比。然究其原因，最根本的是我們遠離了陶情怡性的大自然，不僅失去了各人心中那片神聖的淨土，也失去了照見自己靈魂的那面鏡子，無法觀照反省自身。天地人本為一體，唇齒相依，可是我們的天空為濃煙所遮蔽，土地被人為的貪婪啃噬，人，失去了終生相依的根基，唇亡齒寒，還談什麼反省，又從何觀照自身？
但事物也不應一概否定，應該看到在我們中間也不乏有識之士，他們雖是在跟我們同呼吸，共命運，而他們的眼光和頭腦卻使他們得以逃逸出這人間的牢寵，走進遠離塵囂的大自然，薰染山水河海的靈氣，獲取心靈的甘露。他們不但自己擁有一片淨土，更願把自己所有與眾生分享，把自己的收穫寫成書，繪成畫，饋贈給大家，張正林先生正是這樣一位用畫筆和紙墨為我們耕耘出一片淨土的山水畫家。
正林先生是非常熱愛山，也崇拜山的，他的足跡曾遍及大陸各地名山大川。這些的山山水水，不僅攝人心魄，更令他按捺不住心中豪情，動手再現那些他視若神明的崇山峻嶺，因而他的創作也是遵循「師造化而非師前人」的原則，因為是自然給他以靈感。他的作品構圖嚴謹，筆法細膩，用墨考究，層次分明。
在短短一年多的作畫歷程中，正林先生的作品可以說已經形成了自己獨特的風格，單就構圖方面講，他的畫取景多為中、近景，而視角也是仰視、平視居多，其布局嚴密，結構均衡，有張有馳，富有極強的韻律感，用句美術界的老話說，即是：「疏可走馬，密不透風」。因此，觀其筆下的山，近者巍巍如神，遠者縹緲如仙，神者以水映之，以松襯之，仙者以雲掩之，以霞蔚之，座座山都是那樣威嚴，那樣富予仙風道骨，令人無不為之肅然起敬，似有迴腸盪氣之感，細細想來，這不正應驗了晉人謝赫的繪畫六法之首條：「氣韻生動」嗎？
先生的畫不用濃墨，不施重彩，也沒有我們司空見慣的大揮灑，大寫意，有的只是焦墨勾描，千筆皴擦，用墨色的濃淡變化來表現山的質感、遠近，然而看到這些畫，誰能說他細膩的筆觸下流動的不是山的靈魂，蜿蜒的不是山的雄姿呢？誰又能不擊節歎服他在黑與白的世界裡，便把一個生機盎然、氣象萬千的大自然表現得淋漓盡致呢？正林先生曾強調過一句話：「不要小看這黑白，裡面就是人生的道理。設想一個沒有把這黑與白的禪機參透的人是無法畫出這樣純淨的山水圖畫的。」
正林先生的山水畫，皆用工筆精心而描，然並非所有細枝末節，事無鉅細盡收其中，而是做到了簡繁得當，使畫面簡潔明快，他簡的是山的外形輪廓，簡的是山居廟宇，然成為他不厭其「繁」，精心描摹的對象，則應屬松樹無疑。
作為山水的陪襯，正林先生對松樹可謂是情有獨鍾。在他的作品裡其形象都是老幹虯枝，姿態萬千，或如利劍穿天，依山傲立，或如蟠龍凌空，掛予懸崖，每一棵都盡顯歷經風吹雨打的英雄本身。正如他一幅專畫松樹的畫中題詩所言，「根盤節錯爭千歲，寒暑不改綠一年。」之所以他要細心描畫那根根松針，片片松鱗，原來它們代表的是我們人類的人格啊！
人物，在張先生的畫中有時是做為畫眼而出現的。他們中有高人隱士，有釋道中人，也有現代男女，他們有的立於山頂，指點江山，有的靜觀不語，若有所悟，有的逡巡於途中，興致勃勃，我們看不清他們的面目，僅憑其外形輪廓，可以真切地感受到他們那種在大自然中忘記了今生和來世的怡然自得，也為他們為與山靈同在，甘願披一路風塵的頑強而感動。
看畫的同時，我們會不由自主地為畫中的題跋所吸引。粗略過目，也許有莫名其妙之感，不知所言為何。但是細細品味，就會從中發現有閃光如珠璣者，有一語道破天機者，也有點睛如神筆者。試看：
「自然二字，妙在一心」
「逸出人情外，妙入神思中」
「高高山項立，深深雲中覓，細細心底禪，處處會妙機」
這些佳句不僅對仗工整，與畫面對應，更是畫龍點睛。還有一些題詩亦堪稱絕佳之作，請看以下三首：
其一：年年松下過，日日雲中走，何需凝一物，山境本婆娑。
其二：磐石淋漓，橫江一碧，漁舍櫛比，歸舟條理。
人生得意盡處，最是斜陽浪起，老少醉舞細風裡。
其三：睥睨方與圓，山水共人間。清風撫一面，搖漿渡常川。
看到這些詩中有畫，畫中藏詩的作品，我們不得不折服於這位詩畫才能兼備的畫家對人生真諦的領悟，同時我們是否能體會畫家的苦心，教我們在人世的風波浪裡，將一切視若等閒的為人處世的道理呢？現代的人們，如果你一如我一樣，每天忙碌於世事，沒有機會遨遊萬程神州，不妨暫時放下手中的工作活計，抽出短短片刻，遊歷於他畫中的仙境，其感覺也許並不亞於腳踏實地的觀光，你會發現做一個都市人與做一個「神仙」並無矛盾之處，反而有一種「熊掌」與「魚」能兼而得之的妙處呢。再說品畫如品茶，你我雖都不是此道中人，只要多品幾遍，必有所心得。
讓我們都成為與山靈同遊，並天地交心的人，願更多的人成為張先生那樣的有心人。
何林鶯

自 序

水墨之行

必有奇遇，方有景行。
且說自十九歲離開學校，五十三歲離開職場，除服兵役三年，餘均就業謀生，雖約每六年，換一全新不同職場工作，兢兢業業，成績斐然，頗多佳評。五十三歲那年，從事景觀設計，有一天老闆說：不再支我基本工資，只能從委託設計單位領取設計費，我轉頭離開。
既然失業了，不想再就業，做自己吧！窮當益堅，我興趣多樣，卻理不出可用心之處。我喜愛山水，在棲蘭山工作六年，登過臺灣六十幾座百嶽高山。時常想起范寬的《谿山行旅圖》，決定用二年的時間，畫出百幅作品，開個展覽，此生交代了。想的簡單，要畫什麼，又沒學過，如何下筆。黃賓虹說，畫分十三科，以山水為上，山水又以水墨為上，寫自然之性，亦表吾人之心。就畫水墨吧！理由也簡單，以一筆一墨一紙，畫千山千水千樹。想古人誰主山水，定是法自然。胸有丘壑，自有美景。且費用不多，山又是喜好又是熟識，自然本所好，水墨黑白又有深奧的哲理，懂得攝影的人皆知，彩色只有五個層次，黑白且有九個層次，黑白之間豐富神祕，變幻莫測，有深度更值體會，人生就像黑白，人們生活在黑白之間，是黑白之間的人。
用一支小楷，一張紙，一星期，畫一幅山水，畫盡一年，感到技窮才盡，無以為續，如何是好。我參加了長江三峽黃山旅遊團，想看看巫山煙雲，黃山勝景，尋山水靈。意外，在宜昌葛洲壩，認識了導遊何小姐，參觀盆栽園區，談了構樹，替她拍了照片，之後把我的畫作寄給她，她建議我須自刻印章，並寄送篆刻入門的書，對篆刻一無所知，什麼壽山石、青田石、雞血石、篆字、刻具。我下手了，一邊畫山水，每天刻印章。
「新速實簡美」是我行事原則，孔子說至美素樸，美是意境，美是氣韻生動，美是傳神，神似自然形似，傳神必以形，形似神似。以故，加上一支大筆。大筆一揮，以形傳神。所謂意境，就在似與不似之間。所謂品評，就在看山似山，看水似水。山就是山，水就是水，齊白石說，畫不可以太像，太像索然無味，不可不像，不像不像畫。要在像與不像之間，似與不似。色不異空，空不異色，色即是空，空即是色。
一幅畫必先感動作者，方能感動觀者。感動是心，不是風動，不是幡動，是心在動。石不語重也，字不言隸也，人不言拙也，自然在心，趣也。希望這些作品有能感動其中一人。獨樂樂，不如眾樂樂，與君同樂，樂也。
張正林

Foreword 1
The Sound of Mountains and WatersMy second elder brother, Zhang Zhenglin, has lived a life intertwinedwith mountains, forests, and streams, much like his name suggests. Hestudied forestry and spent his younger years working at the Trans-IslandHighway Forest Development Office, overseeing the mountains and waters andtranslating their beauty into landscape sketches. His love for the mountainsalso led him to form a hiking club, through which he explored Taiwan's greatand small peaks with friends. His photography captured these scenic wonders,resulting in the publication of The Zhang Zhenglin Photography Collection,which offers a remarkable blend of beautiful writing and breathtaking imagery.
He has a wide range of interests, including calligraphy, painting, photography, seal carving, and landscape design. Remarkably, he is selftaughtin all of these fields, without any formal training. Guided by an intuitiveand unpretentious perspective, he translates the landscapes of his heart andmind into his creations, achieving notable success. His landscape design forYuanshan Elementary School in Yilan is regarded as a model campus landscapein the county. In recent years, after his retirement, he moved to Beijing.Despite living in a new city, his passion for the arts remained undiminished.He used his leisure time to explore China's renowned mountains, includingthree of the Five Great Mountains — Mount Hengshan in the south, MountHengshan in the north, Mount Huashan in the east — as well as, Mount JiuhuaMountain (a Buddhist site), Zhangjiajie, Jiuzhaigou, and even the Great Wall.Notably, he ascended Mount Huangshan six times. During these journeys, heabandoned his camera and instead captured the mountains’ charm in his mind,transforming them into black-and-white ink paintings.
Among the siblings, I share a particularly deep bond with him. In fact, hisinfluence greatly shaped my decision to study Chinese literature in university.Later, I served in several roles, including editor-in-chief of Pumen Magazine,president of Fo Guang Publishing House, Head of Merit Times, President of theFo Guang Shan Culture Council, and executive director of the Fo Guang ShanFoundation for Buddhist Culture and Education. These roles stemmed from apassion for promoting cultural heritage. I also taught courses on Buddhism andliterature at institutions like National Kaohsiung Normal University, NanhuaUniversity, and the University of the West in the United States, as part of mydedication to cultural transmission.
During one visit to Beijing, where he was then residing, I casually askedhim to teach me painting. I requested that the lessons incorporate bothaesthetic elegance and simplicity. He suggested painting lotus flowers becauseof their deep significance in Buddhist art and their frequency in Buddhistsculptures and paintings. To help me master the art, he visited botanicalgardens in both China and Taiwan to photograph the flowers and sketchedseveral compositions of blooming lotuses for my reference. He even preparedthe necessary materials—brushes, ink, paper, and inkstones—ready for me tobegin when the time was right.
As Xie Lingyun, a poet from the Jin and Song dynasties, once said: “Whybother playing the strings and flutes? The mountains and waters carry thefinest sounds.” With his poetic sensibility, Xie captured the essence of naturalbeauty in verse, just as Zhenglin captures it with a traditional Chinese brush.Eschewing colors for ink, he seeks to reveal the authenticity of mountains andwaters, stripping away superficial beauty in search of their essence.
When Second Brother was battling cancer, I encouraged him to continuepainting, partly to distract him from his illness. His artworks were laterexhibited at Fo Guang Yuan Art Galleries worldwide, including at Hsi LaiTemple, the University of the West, Fo Guang Shan North Carolina, YixingDa Jue Temple, Jiaying Lodge in Suzhou, Jianzhen Library in Yangzhou, andvarious locations across Taiwan, such as Kaohsiung, Taipei, and Yilan. Theseexhibitions reflected his deep connection to art, and even Venerable MasterHsing Yun gifted him a calligraphic piece titled A Life Among Mountains andStreams to celebrate his artistic journey.
In recent years, his health has gradually improved, allowing him to spendtime with his grandchildren and produce delightful works in ink painting, sealengraving, and calligraphy. Among his creations, the large-scale landscape inkscrolls are particularly notable, embodying the spirit of serene contemplationand the pursuit of the Dao. Worrying that his works might one day be lost,Venerable Man Guan, Head of the Fo Guang Shan Cultural Enterprise Company,suggested compiling them for publication. As the collection nears completion, Ihappily pen this foreword in tribute to his extraordinary artistic journey.
Fo Guang Shan Culture Council President
Yi Kong

Foreword 2
Truth and Nature — Zhang Zhenglin's Ink Art
Zhang Zhenglin's love for the mountains and forests resonates with hisinner spirit. As it is said in Huainanzi, he seems to “hear in the silence and seein the formless.” His artistic expression flows naturally, blending life's essencewith artistic creation to produce outstanding works.
Although Zhang humbly claims that what he sees and feels comes frompersonal emotions, his deep connection with mountains and forests transcendsthe ordinary, reaching a state of mutual resonance. This talent is not merelyacquired but seems innate, as if his heart naturally embraces the vastness ofthe earth and the essence of nature, resulting in extraordinary brushwork onhis paintings.
Quoting Lu Ji's Wen Fu (trans. “Essay on Literature”): “The meeting ofinspiration, the passage of communication, arrives without restraint, departsbeyond control.” Zhang's artistic landscapes reflect the harmony betweena pure heart and the natural world. His creations also embody the myriademotions of life and the transformative power of nature, giving rise to a uniquesense of artistic wonder. This parallels the sentiments expressed in Wen Fu:“Sorrow for leaves falling in the strong autumn; joy for tender branches infragrant spring.”
Painting is both an outcome of personal cultivation and learning. Fromthe beginning, Zhang displayed a natural affection and talent for creativity.His career and education have always been connected, directly or indirectly,to the natural world. In retirement, he brings the scenery that fills his heart—whether it's the beauty of mountains or the misty clouds—into his art. Thesescenes evoke the poetic essence and spiritual quality of Chinese landscapepainting, with photographic elements adding to their authenticity, graduallytransforming into deeper imagery and inner visions.
Within his paintings, Zhang expresses an understanding of the aestheticprinciple that “ink painting is supreme in Chinese art.” His techniquecombines sharp observation with inner sensibility, leaving viewers immediatelycaptivated by the refreshing purity and majestic atmosphere. Though rooted intraditional Chinese brush techniques, his work exemplifies the dynamic energyof “movements arising from the heart, and sounds emerging from within,” as JiKang articulated.
In his landscape paintings, the undulating mountains evoke the hiddenpresence of dragons and tigers, reflecting the depth of one well-versed inliterature, exuding confidence among nature’s grandeur. Zhang regards hisartistic work as both a personal necessity and a manifestation of life’s values.His philosophy reflects the idea: “Leaving without attachment, coming withdestiny, life as a dream for all, finding peace in every encounter.” Throughcontrasting emptiness and reality, his art transcends traditional boundaries,harmonizing inner emotion, thought, and spiritual resonance to create aunique artistic critique.
His works, such as Mountains are Present, People are Present, Clouds andHeavens and Present, leave an indelible impression, embodying a blend ofvitality and elegance. As Shen Zongqian observed in the Qing Dynasty, “Themyriad changes emerge from the mind; every brushstroke is a natural creation,connecting across time.” This spirit shines through in Zhang’s masterpiece Onthe Shores of the Holy Tomb. From composition to brush technique, the textureand depth reflect Shen’s belief that "Ink is an expression of one's heart; whenthe heart is broad, the intention is extraordinary."
Chinese painting integrates multiple art forms. Zhang’s paintings notonly demonstrate aesthetic practices rooted in Chan, personal cultivation, andaspiration but also reflect a profound engagement with the essence of life. Hisworks embody the convergence of poetry, calligraphy, and painting in Chineseart, highlighting the creative nature of literature. In fusing natural awarenesswith inner resolve, Zhang bridges time and space through his artistry, blendingcalligraphy and seal carving into his paintings, thereby adding depth to thework. His style encapsulates the essence of literati painting, manifesting aheartfelt fullness and a confident embrace of the mystical aesthetics of theEast.
Zhang’s artistic journey draws inspiration from nature, ancient masters,and personal resolve. His art invites viewers into realms of imagination andserenity, with a radiant clarity that illuminates both landscape and spirit.Beyond the physical forms, his paintings resonate with an infinite purity.Achieving what Sikong Tu described as "the form beyond the form, the scenebeyond the scene," Zhang's art reaches unparalleled heights, reflecting theartist’s spirit and profound insight into the world of art.
Former Director of the National Museum of History
Former President of National Taiwan University of Arts
Huang Guangnan

Foreword 3
Exploring the Spirit of Landscapes Under
the Canopy:
A Chat About Zhang Zhenglin's Paintings
Contemporary individuals, often confined to city life, spend their daysin cramped living spaces, industrial-like buildings, and crowded streets.Surrounded by constant noise and stress, their minds become constricted,and their perspectives narrow. They frequently argue over trivial matters,with these disputes sometimes escalating into serious conflicts. This givesrise to the lament: 'The world is deteriorating, and things are no longer whatthey once were.' The underlying issue is our disconnection from the nurturingembrace of nature. We've lost not only the sacred inner sanctuary of our heartsbut also the mirror that reflects our souls, making self-reflection difficult.Heaven, Earth, and humanity are meant to be interconnected, yet our skiesare choked with smoke, and our land is scarred by human greed. Without thisessential connection, how can we truly reflect on ourselves or understand ourtrue nature?
However, we shouldn’t dismiss everything. Among us are insightfulindividuals who, while sharing our daily lives, have managed to transcend theconfines of the ordinary. They find solace in nature, soaking up the spiritualessence of mountains, rivers, and seas, and nourishing their souls. They notonly cherish their own sanctuary but also generously share their discoveriesthrough books, paintings, and gifts. Mr. Zhang Zhenglin is one such landscapepainter who creates a pure and serene world for us with his brush and ink.
Mr. Zhang Zhenglin is deeply passionate about mountains and skillfullypaints mountain scenery. He has traveled to many of the country's famousmountains and rivers in recent years. These landscapes not only captivate himbut also stir his deep emotions, prompting him to capture and reinterprettheir grandeur. His work follows the principle of drawing inspiration directlyfrom nature rather than from previous artists, with nature itself serving as hismuse. His compositions are meticulous, featuring detailed brushwork and welldefinedlayers of ink.
In just over a year of painting, Mr. Zhang Zhenglin has developed aunique style. His compositions frequently feature middle-range and closeupperspectives, while predominantly maintaining distant or level viewpoints.His compositions are both dense and balanced, creating a dynamic rhythm.There is an old art saying that goes: '(The artwork) should be loose enoughfor a horse to pass through, yet dense enough to block the wind.' As a result,his paintings depict nearby mountains as grand and impressive, with distantones taking on a magical, otherworldly quality. The divine is reflected in waterand framed by pines, and the celestial is shrouded in clouds and illuminatedby a rosy glow. Each mountain conveys grandeur and an otherworldly charm,evoking deep respect and emotional resonance. This perfectly aligns with XieHe's first principle of Chinese painting: 'rhythmic vitality.'
Mr. Zhang's paintings avoid heavy ink and bright colors, and lack thegrand, expressive strokes often found. Instead, they feature delicate ink linesand subtle brushwork, using variations in ink to convey the texture and depthof the mountains. Despite their simplicity, his meticulous brushwork capturesthe essence and majesty of the mountains. His work vividly reflects nature’svitality in black and white. As Mr. Zhang often says, 'Do not underestimateblack and white; within it lies the essence of life. Only someone who trulyunderstands this Chan can create such pure and refined landscapes.
Mr. Zhang Zhenglin’s landscape paintings are meticulously detailedbut avoid overloading with minor elements. They strike a balance betweensimplicity and complexity, resulting in a clean and vivid composition. Whilehe carefully outlines the mountains and their structures, the object hemeticulously depicted must undoubtedly be the pine trees.
In his landscapes, Mr. Zhang Zhenglin displays a deep affection for pinetrees. His paintings capture these trees with gnarled trunks and diverse forms,some standing tall like swords piercing the sky, others clinging to cliffs likesmall dragons. Each tree embodies resilience, having weathered countlessstorms. As expressed in a poem accompanying one of his pine tree paintings,'Roots twist and turn for a thousand years, enduring heat and coldness withoutchange.' His meticulous portrayal of every pine needle and bark, resemblingscales, symbolizes the enduring strength of human character.
In Mr. Zhang’s paintings, figures sometimes become focal points. Theseinclude reclusive sages and practitioners of Buddhism and Daoism, as well asordinary men and women. Some stand on mountain peaks, gesturing towardthe landscape; others observe silently, deep in thought; and some travel withenthusiasm. While their faces are not detailed, their forms evoke a profoundsense of peace and fulfillment in nature, as well as a resilient spirit inwithstanding the journey’s dust and wind.
As we examine the painting, we are instinctively drawn to the inscriptions.At first, they might seem obscure and puzzling. However, with carefulcontemplation, one can uncover phrases that sparkle with insight, provideprofound revelations, or capture divine inspiration. For instance:
"The essence of 'nature' lies in the unity of mind."
"Beyond human emotions, it channels miraculously into divine thought."
“From high mountain peaks to profound clouds, the subtlety of Chanreveals its wonders everywhere.”These verses, perfectly balanced and inharmony with the imagery, are the finishing touch that brings the scenes tolife. Some of the inscribed poems are truly masterpieces. Please enjoy thefollowing three:
The First:
Year by year beneath the pines I pass,
Day by day through drifting clouds I roam.
Why cling to the transient and the fleeting?
The mountain’s essence is vast, ever boundless.
The Second:
Rocky cliffs glisten, spanning the emerald river,
Fishing cottages cluster, returning boats in neat array.
The fullness of life is found in fleeting moments,
Where sunset stirs the waves, and young and old dance in the gentle breeze.
The Third:
Gazing down on forms both square and round,
Mountains and rivers share this world with man.
A breeze softly brushes one’s cheek,
As oars stir the ever-flowing river.
Observing these poems intertwined with the paintings, we are deeplyimpressed by the artist's dual talent in poetry and painting and his profoundunderstanding of life’s essence. We also see his intention to teach us how toremain unaffected by worldly troubles and approach life with calm detachment.
For those of us who, like me, are absorbed in daily routines and lack theopportunity for extensive travel, taking a moment to visit Mr. Zhang Zhenglin’sart exhibition might offer a sense of escape. Experiencing the otherworldlyrealms depicted in his work can be as fulfilling as travel itself. You might findthat being an urban dweller and a "sage" are not mutually exclusive but cancoexist harmoniously. Moreover, appreciating art is like savoring tea; thoughwe may not be connoisseurs, repeated enjoyment will yield valuable insights.
Let us strive to be those who journey with the spirit of the mountains andconnect deeply with nature. May more people embody the thoughtfulness ofMr. Zhang.
He Lin-ying
(Completed in Yichang )

Preface
A Journey of Ink and Wash
"Only through extraordinary encounters can one achieve a path ofexcellence."
At the age of 19, I left school, and by 53, I retired from the workforce.Aside from three years of military service, I worked continuously, changingjobs every six years or so, each time in a completely new field. I approachedeach role with dedication, receiving many accolades for my efforts. However,when I was 53, while working in landscape design, my employer informed methat I would no longer receive a basic salary and would only be paid throughcommissions. At that moment, I decided to leave.
With no desire to re-enter the workforce, I resolved to focus on myself. Asthe saying goes, “Adversity builds resolve.” I had many interests but struggledto find one to truly dedicate myself to. My love for nature and landscapesran deep, having worked in Qilan Mountain for six years and climbed morethan sixty of Taiwan’s hundred peaks. I often thought about Fan Kuan'sTravelers Among Mountains and Streams and decided to create one hundredpaintings within two years for an exhibition, feeling this would fulfill a lifelongaspiration.
Yet, it was not as simple as I imagined. What should I paint? How shouldI begin, having never studied art formally? Huang Binhong once said thatpainting can be divided into thirteen genres, with landscapes ranking thehighest, and among landscapes, ink painting stands supreme. Ink paintingexpresses both the nature of the world and the artist’s heart. I chose inkpainting for its simplicity—one brush, one ink, one paper—capable of capturingendless mountains, rivers, and trees. I believed that beauty should arisenaturally from within. The process was affordable, and since I knew and lovedmountains, it felt right. The philosophical depth of black and white fascinatedme. Those familiar with photography understand that while color offers fivelevels of depth, black and white reveals nine, with each shade between blackand white containing richness, mystery, and unpredictability. Life, too, existsbetween these contrasts, and we are people living within the spectrum of blackand white.
Using a fine-tipped brush, a piece of paper, and dedicating one week toeach painting, I created a landscape every week for a year. However, by theend, I felt both technically and creatively drained, unsure of how to continue. To find inspiration, I joined a tour to the Three Gorges and Mount Huangshan,hoping to experience the misty allure of Mount Wushan and the scenicsplendor of Mount Huangshan. On this journey, I unexpectedly met Miss He, atour guide, at the Gezhouba Dam in Yichang. While visiting a bonsai garden, wediscussed the paper mulberry tree (also called the tapa cloth tree). I took somephotos for her and later sent her some of my paintings. She suggested that Icarve my own seals and even mailed me a book on seal carving. At the time, Iknew nothing about seal stones, nor the tools and techniques of seal carving.But I gave it a try, carving seals daily while continuing my ink paintings.
The principles I follow are novelty, punctuality, practicality, simplicity,and beauty. I strive to avoid procrastination or excuses, work throughchallenges step-by-step, and complete tasks with care. Confucius said,“The highest form of beauty lies in simplicity.” To me, beauty is an artisticconception—it is the cosmic rhythm of the spirit. True beauty captures bothlife and essence, balancing form and meaning. To enhance my work, I addeda large brush, allowing me to convey spirit through bold, expressive strokes.In art, beauty lies between likeness and abstraction. As Qi Baishi once said,“Paintings should not be too lifelike, or they lose their charm, but they muststill resemble their subject.” The essence of art is found between realityand imagination, between form and emptiness—form is not separate fromemptiness, and emptiness is not separate from form. Form is emptiness, andemptiness is form.
A painting must first move the artist before it can move the viewer. Thetrue movement comes from within the heart; it is not the wind that moves, northe flag, but the heart. As the saying goes, “A stone may not speak, yet it holdsweight; words may not utter meaning, yet they convey it.” Similarly, peopledo not need words to express their thoughts; true beauty emerges naturallyfrom the heart. I hope these works will touch at least one person. “It is betterto share joy with many than to enjoy it alone.” I invite you to join me in thisshared experience of joy.
Xizhi district (New Taipei City)

推薦序

山水有佳音
二哥正林，人如其名，一生和山林泉壑結下不解之緣。讀的是森林科，年輕的歲月獻給了橫貫公路森林開發處，管山管水，並把山水的靈秀繪成一幅一幅的鉛筆山水畫。因為愛山，更自組足下登山社，帶著朋儕同好躋登臺灣的大小山嶽，將美麗的山水攝影成集，出版有《張正林攝影集》，美文佳景，斐然成篇，頗有可觀之處。
二哥的興趣廣泛，書法、繪畫、攝影、篆刻、景觀設計，均無師自通，沒有受過專業的訓練，以素人的直觀，繪畫胸中之丘壑，並且卓然有成。他設計的宜蘭員山國民小學校園，被稱為宜蘭縣國小的模範校園景觀。...

推薦序
山水有佳音/ 依空法師
真實與自然──張正林水墨藝術/ 黃光男
尋山水靈與天地，並小談張正林先生的畫/ 何林鶯

自 序
水墨之行/ 張正林

藝術家張正林簡介

單元一　水墨
單元二　篆刻
單元三　書法

圖片索引

Foreword 1 / The Sound of Mountains and Waters /
Venerable Yi Kong
Foreword 2 / Truth and Nature – Zhang Zhenglin's Ink Art /
Huang Guangnan
Foreword 3 / Exploring the Spirit of Landscapes Under the Canopy:
A Chat About Zhang Zhenglin's Paintings / He Lin–ying
Preface /A Journey of Ink and Wash / Zhang Zhenglin
About the Artist / Biography of Zhang Zhenglin
Unit 1 / Ink Paintings
Unit 2 / Seal Carving
Unit 3 / Calligraphy
mage index

推薦序
山水有佳音/ 依空法師
真實與自然──張正林水墨藝術/ 黃光男
尋山水靈與天地，並小談張正林先生的畫/ 何林鶯

自 序
水墨之行/ 張正林

藝術家張正林簡介

單元一　水墨
單元二　篆刻
單元三　書法

圖片索引

Foreword 1 / The Sound of Mountains and Waters /
Venerable Yi Kong
Foreword 2 / Truth and Nature – Zhang Zhenglin's Ink Art /
Huang Guangnan
Foreword 3 / Exploring the Spirit of Landscapes Under the Canopy:
A Chat About Zhang Zhenglin's Paintings / He Lin–ying
Preface /A J...