万紫千红夏亦冬，千山万水共長空，千头万绪何為始？万缕千絲那是终？
注释：我提倡中国山水画，在技法上的点、线，面、色的多元性概念，在表現上抽象与具象統一概念，正這贯注着人的社会性的复杂意义。社会上沒有任何一样东西是纯粹而孤立的，羍牵连连，变化万干。任何气候性的概念如春夏秋冬，晝夜早午等，都是具有地域性、侷限性特征。用全面和相对的角度来看，更好明显地去説明問題。春夏秋冬均不可能有不变的慨念。且一件事物由无形而成诸于有形，再从有形而失诸于无形。同样，一件事物的结束，就标誌着另一件事物的開始。生生息息，循环不息。艺术家又如何在此千变万化的世界中，去捕捉自己所感到兴趣的题材呢？事物在具象状态時，給我們看見了，但当它处于抽象狀态時，我們就不易于在能見的表面現象所發現。而社会人际关係，基本上都是处于抽象狀态的。正如千絲万缕，万缕千絲。
1989 relative to the presence of
Colorful summer and also winter, thousands of miles were the sky, a multitude of things before what? Wanlv thousands of silk that is the end?
Note: I promote Chinese landscape painting, the techniques on the point, line, surface, color of the diversity concept in the abstract and the concrete performance of a unified concept, is it absorbed the complexity of the social nature of meaning. No society is something pure and isolated, Da implicated companies, changes in million dry. Any climate of concepts such as seasons, day and night, breakfast, lunch, etc., are a regional, limited features. With a comprehensive and comparative perspective, the better to illustrate the problem clearly. Seasons are not there is a constant Concept. And the thing made by the various intangible tangible, from the visible and lost all trace. Similarly, the end of a thing, it marks the beginning of another thing
