深山藏古寺 ‍—— 周泽恩 ‍Ancient temples hidden deep in the mountains ‍—— Zhou Ze’en ‍

躍龍

　　丙午年中元节前日， 著名画家周泽恩夫妻一行约十人赴南岳衡山千年古刹福严寺写生， 于山门前写成此作。 福严寺方丈释大岳法师欣然题款：

On the eve of the Ghost Festival in the year of Bingwu (1906), the renowned painter Zhou Ze'en and his wife, along with about ten others, went to Fuyan Temple, an ancient temple with a history of over a thousand years, on Mount Heng in Nanyue, to sketch. This work was completed in front of the temple gate. Abbot Shi Dayue of Fuyan Temple gladly inscribed:

“深山藏古寺。

丙午秋月，泽恩写，

衡山大岳于丈室题。”

"A hidden ancient temple in the deep mountains. Painted by Ze'en in the autumn of the year of Bingwu, and inscribed by Dayue of Hengshan in his abbot's room."

作品为方形构图，山水、建筑、点景人物融为一体。

The work features a square composition, seamlessly integrating mountains, water, architecture, and figures.

一 画题溯源：

“深山藏古寺”的历史典故：

“深山藏古寺” 是传统绘画的经典命题， 其源头可追溯至宋代画院取士的佳话。

Origin of the Theme: The Historical Allusion of "An Ancient Temple Hidden in the Deep Mountains"

相传宋徽宗赵佶以 “深山藏古寺” 为题考画院画师，多数画家画庙宇一角于山中， 唯有一幅画深山溪涧旁，一小和尚正俯身汲水——有僧必有寺， 有寺而不见寺，“藏”意尽出。此画夺魁，遂成中国画“以藏胜露、以虚代实”美学原则的经典范例。

"An ancient temple hidden in the deep mountains" is a classic theme in traditional painting, its origins traceable to a famous anecdote from the Song Dynasty's imperial painting academy. Legend has it that Emperor Huizong of Song, Zhao Ji, used the theme "An ancient temple hidden in the deep mountains" to test the academy's painters. Most painters depicted a corner of a temple in the mountains, but only one painting showed a young monk bending down to draw water by a mountain stream—where there is a monk, there must be a temple; where there is a temple, there is a temple, yet the meaning of "hidden" is fully expressed. This painting won first place, thus becoming a classic example of the Chinese painting aesthetic principle of "concealment over exposure, emptiness over fullness."

此一命题，实则承载着中国文化中源远流长的“隐”的传统。自魏晋以降，名士 遁迹山林、 高僧结庐深谷，“天下名山僧占多”， 寺观与山林在千年历史中早已互为表里。画家笔下的“藏”，既是视觉的遮蔽，更是精神的寄托，庙堂之高不可久留，山林之深自有清欢。

This theme actually embodies the long-standing tradition of "seclusion" in Chinese culture. Since the Wei and Jin Dynasties, scholars have retreated to the mountains and forests, and eminent monks have built huts in deep valleys; "many famous mountains in the world are occupied by monks." Temples and forests have long been intertwined throughout history. The "concealment" depicted by the painter is not only a visual concealment, but also a spiritual sustenance. One cannot linger in the high halls of power, but find tranquility and joy in the depths of the mountains and forests.

　　周先生此作深谙此道： 不将寺庙全盘托出， 画面只露山门、 院墙与屋舍一角，大片山林古树将建筑掩映其中， 恰承宋人遗意， 含蓄而有余味。 构图上采用 “之” 字形布局， 山径从右下角蜿蜒而入， 穿过密林， 通向画面左侧的寺门，引导观者视线深入画中，与古人“可行、可望、可游、可居”的山水理想一脉相承。

Mr. Zhou's work demonstrates a deep understanding of this principle: by not fully revealing the temple, the painting only shows the mountain gate, courtyard walls, and a corner of the buildings, with vast forests and ancient trees concealing the structures, perfectly capturing the spirit of the Song Dynasty, subtle yet evocative. The composition employs a zigzag layout, with a mountain path winding in from the lower right corner, passing through dense forest, and leading to the temple gate on the left side of the painting, guiding the viewer's eye deeper into the scene, thus aligning with the ancient ideal of landscapes that are "walkable, viewable, traversable, and habitable."

　　二、福严寺沿革：六朝古刹的千年沧桑画中古寺之所以值得“藏”，正因其历史的厚重。福严寺由慧思禅师创建于南朝陈光大二年（568 年） ，原名般若禅林，至宋代赐名“福严”，素有“六朝古刹，七祖道场”之誉，为禅宗南岳一系的祖庭。

The History of Fuyan Temple: A Thousand Years of Change in an Ancient Temple from Six Dynasties The reason this ancient temple is worth preserving lies precisely in its profound history. Founded in 568 AD by Zen Master Huisi during the Southern Chen Dynasty, Fuyan Temple was originally named Prajna Zen Forest. It was renamed "Fuyan" during the Song Dynasty and is renowned as "an ancient temple of six dynasties and the ancestral home of the Seventh Patriarch," serving as the ancestral temple of the Nanyue lineage of Zen Buddhism.

慧思禅师（515—577 年） ，俗姓李，武津（今河南上蔡）人，天台宗三祖。他一生历经北魏末年至南朝末年的乱世， 两度遭毒， 险死还生， 遂发愿南下避地。陈光大二年率徒众抵达南岳， 在此弘法十余年， 开创了南岳佛教的根基。 其后弟子智顗承其学统， 创立天台宗， 影响远播东瀛， 慧思因此被尊为天台宗思想的重要奠基人。

Zen Master Huisi (515-577 AD), whose secular surname was Li, was from Wujin (present-day Shangcai, Henan Province) and was the Third Patriarch of the Tiantai School. He lived through the turbulent period from the late Northern Wei Dynasty to the late Southern Dynasties, twice suffering poisoning and narrowly escaping death. He then vowed to seek refuge in the south. In 568 AD, he led his disciples to Nanyue, where he propagated Buddhism for over ten years, laying the foundation for Buddhism in Nanyue. His disciple Zhiyi inherited his teachings and founded the Tiantai school, which had a far-reaching influence in Japan. Huisi is therefore revered as an important founder of the Tiantai school of thought.

　　慧思之后， 南岳法脉绵延不绝。 唐代禅宗七祖怀让驻锡于此， 磨砖作镜、接引马祖道一的公案即发生在南岳——“七祖道场” 之名由此而来。 此后石头希迁师承辗转，南岳一系开衍出临济、沩仰二宗，曹洞、云门、法眼亦源出青原一脉与南岳交互，“五叶流芳”， 中国禅宗的大半江山皆与这座深山古寺有着千丝万缕的联系。

After Huisi, the lineage of Chan Buddhism in Nanyue continued unbroken. The Seventh Patriarch of Chan Buddhism in the Tang Dynasty, Huairang, resided here, and the story of grinding a brick to make a mirror and guiding Mazu Daoyi took place in Nanyue—hence the name "Seventh Patriarch's Dojo." Later, Shitou Xiqian's lineage changed hands several times, and the Nanyue lineage gave rise to the Linji and Weiyang schools. The Caodong, Yunmen, and Fayan schools also originated from the Qingyuan lineage and interacted with Nanyue, creating a "five-generation legacy." Much of the Chinese Chan Buddhist tradition is intricately connected to this ancient temple deep in the mountains.

历代文人过南岳者，多有题咏。唐李白、杜甫皆有南岳诗篇，宋朱熹、张栻同游南岳， 唱和于方广、 福严之间， 留下 “朱张霁雪” 的儒林佳话。一座福严寺，半部湖湘禅学史，画家今日所对，正是这样一处浸润了千余年文脉的实景。

Throughout history, many literati who visited Nanyue wrote poems. Tang Dynasty poets Li Bai and Du Fu both wrote poems about Nanyue. Song Dynasty scholars Zhu Xi and Zhang Shi traveled to Nanyue together, exchanging poems at Fangguang and Fuyan Temples, leaving behind the famous Confucian anecdote of "Zhu and Zhang's Snow-Clearing Gathering." Fuyan Temple alone encapsulates half of the history of Hunan Chan Buddhism; the scene depicted by the painter today is precisely such a place, imbued with over a thousand years of cultural heritage.

　　三、三棵古银杏：活着的南朝史

Three Ancient Ginkgo Trees: A Living History of the Southern Dynasties

画面重心偏左， 三棵苍劲古银杏占据半壁， 是全画的视觉主体。 三树树龄均逾 1457 年，植于南北朝晚期（约公元 569 年） ，相传为慧思手植，也就是说，这三株树比福严寺的寺龄还要略长，几乎与南岳佛教的开山史同龄。

The painting's center of gravity is slightly to the left, with three vigorous ancient ginkgo trees occupying half the space, forming the visual focus of the entire work. All three trees are over 1457 years old, planted in the late Southern and Northern Dynasties (around 569 AD). Legend has it that they were planted by Huisi himself, meaning these three trees are slightly older than Fuyan Temple, almost the same age as the founding of Buddhism in Nanyue.

古树细节： 三株银杏高低错落， 主干需数人合抱， 树皮皴裂如龙鳞，枝干虬曲盘旋，向上伸展似要托住云天。树叶以密集点彩法绘就，墨绿、石绿、藤黄交错， 表现初秋时节叶色渐变的丰富层次。 树冠如巨伞张盖， 遮天蔽日，树根盘根错节，紧抓山岩，彰显千年古树顽强的生命力。

Details of the Ancient Trees: The three ginkgo trees are of varying heights, with trunks requiring several people to encircle them. Their bark is cracked like dragon scales, and their branches twist and turn, stretching upwards as if to support the clouds. The leaves are painted using a dense pointillist technique, with alternating shades of dark green, malachite green, and gamboge, depicting the rich layers of color change in early autumn. The canopies spread like giant umbrellas, blocking out the sun, while the roots are intertwined, clinging tightly to the mountain rocks, showcasing the tenacious vitality of these thousand-year-old trees.

　　四株银杏的传说：福严寺银杏共有四株——山门外三株（画中主体） ，相传为慧思手植，为母树；院内一株，传说“受过戒”，由僧人为其诵经授戒，故称“受戒公银杏”。此树曾遭雷劈，轰然摧折，众僧以为必死，不料数年后竟从焦黑的老干上重新萌发新枝，死而复生，被南岳人奉为“佛树”，视为佛法不坏、慧命常青的象征。雷劈复生之事虽不可尽考，但古树历经千年雷火风霜而不倒，本身就是一部无言的信仰史。

The Legend of the Four Ginkgo Trees: Fuyan Temple has four ginkgo trees—three outside the mountain gate (the main focus of the painting), said to have been planted by Huisi and are considered the mother trees; and one inside the courtyard, said to have been ordained by monks, hence called the "Ordination-Ordaining Ginkgo." This tree was once struck by lightning and violently broken. The monks thought it was dead, but unexpectedly, several years later, new branches sprouted from its charred trunk, bringing it back to life. The people of Nanyue revered it as a "Buddha Tree," a symbol of the indestructibility of Buddhism and the evergreen nature of wisdom. While the story of its resurrection after being struck by lightning cannot be fully verified, the ancient tree's survival through a thousand years of lightning, fire, wind, and frost is itself a silent history of faith.

　　名人印记： 这四株银杏历来是南岳人文的重要见证。 历代僧俗于此树下讲经、纳凉、送别，树早已不是树，而是南岳的“活文物”。台湾作家龙应台（祖籍衡东）回到故乡时曾写道：

Notable Figures: These four ginkgo trees have always been important witnesses to the culture and history of Nanyue. For generations, monks and laypeople have gathered beneath them to preach, find shade, and bid farewell. The trees are no longer just trees; they are living relics of Nanyue.Taiwanese writer Lung Ying-tai (whose ancestral home is Hengdong) wrote upon returning to her hometown:

我站立在巨大的树下， 久久仰头， 看那一千五百年来来去去的浮云从叶隙流过，鸟鸣不绝于耳。

"I stood beneath the enormous tree, gazing upwards for a long time, watching the clouds that have flowed through the leaves over the past 1,500 years, the birdsong never ceasing."

寥寥数语，写尽千年树的时空沧桑。此画所绘石阶、石栏、山门，正是福严寺山门前实景； 画中三株千年古木， 与龙应台笔下的描写对象完全对应——龙应台仰望的浮云与画家笔下的浓荫，隔着海峡与岁月，在福严寺山门外合而为一。画与文互为印证，家国与乡愁同构。

These few words encapsulate the vicissitudes of time etched upon these thousand-year-old trees. The stone steps, railings, and gate depicted in this painting are the actual scene in front of the Fuyan Temple gate; the three ancient trees in the painting perfectly correspond to the objects described in Lung Ying-tai's writing—the clouds Lung Ying-tai gazed upon and the dense shade depicted in the painter's work, separated by the strait and the passage of time, merge into one outside the Fuyan Temple gate." The painting and the text corroborate each other, the nation and the nostalgia forming a unified whole.

　　四、点景人物：千年香火，人间行旅

Figures: A Thousand Years of Incense, Human Travelers

点景人物虽寥寥数笔， 却颇具匠心： 六位游人拾级而上、 三三两两入山——寺门一人， 石阶上两人， 坪台上两人。 香客游人赋予了画面烟火气息，静谧山林顿添人间行旅之感。

The figures, though depicted with only a few strokes, are meticulously crafted: six tourists ascend the steps, entering the mountain in twos and threes—one at the temple gate, two on the stone steps, and two on the platform. These pilgrims and tourists imbue the scene with a sense of everyday life, adding a touch of human travel to the tranquil mountain forest.

人物细节：寺门处的游人似正驻足仰望，衣褶用兰叶描勾勒，简练而生动；石阶上两人一前一后， 前人拄杖缓行， 后人背负行囊； 坪台上两人或立或坐，似在歇息闲谈。人物服饰以淡赭、花青点染，与整体色调和谐统一。

Figure Details: The tourist at the temple gate seems to be pausing and gazing upwards; the folds of his clothing are outlined with orchid leaf strokes, simple yet vivid. On the stone steps, two figures walk one after the other; the one in front leans on a cane, while the one behind carries a bag. On the platform, the two figures stand or sit, seemingly resting and chatting. Their clothing is accented with light ochre and indigo, harmonizing with the overall color scheme.

　　香火历史： 南岳进香的民俗绵延千年。 自唐宋以来， 南岳即为南方朝圣中心，湘、赣、粤、鄂等地香客结伙成“香会”，逢八月朝拜南岳圣帝，鼎盛时“千人拱手，万岁仰答”，山道上香客络绎不绝，昼则香旗招展，夜则灯笼成串。福严寺虽藏于深山，亦是香客必至之地。画中六位游人，衣着朴实，非达官显贵，正是普通香信旅人， 画家以他们入画， 接续的正是这千年不绝的朝山传统， 让 “藏”于深山的古寺，始终与人间烟火声气相通。

History of Incense Offerings: The custom of pilgrimage to Mount Heng (Nanyue) has continued for over a thousand years. Since the Tang and Song dynasties, Mount Heng has been the center of pilgrimage in the south. Pilgrims from Hunan, Jiangxi, Guangdong, Hubei, and other places formed "incense gatherings" to worship the Holy Emperor of Mount Heng in August. At its peak, "thousands of people bowed and paid homage," and the mountain paths were teeming with pilgrims. By day, incense flags fluttered, and by night, strings of lanterns lined the way. Although Fuyan Temple is hidden deep in the mountains, it is also a must-visit place for pilgrims. The six tourists in the painting are simply dressed and are not high-ranking officials or nobles, but ordinary pilgrims. The painter used them in the painting to continue this thousand-year-old tradition of pilgrimage, allowing the ancient temple "hidden" in the mountains to always be connected with the sounds and sounds of human life.

五、笔墨技法

Brush and Ink Techniques

1. 树木：古树枝干以浓墨勾勒皴擦，先以中锋勾出主干轮廓，再以侧锋皴出树皮的粗糙质感， 最后用淡墨罩染， 使枝干既有立体感又显苍劲。 树叶用点彩法，花青、石绿、淡墨交错，不作传统纯水墨，而是彩墨山水，树叶繁茂厚重，写出衡山山林郁郁苍苍之貌。 右侧松树笔法硬朗， 松针密集， 墨色沉实——中锋勾针，根根见笔。松、银杏并置，亦有古意：松喻高洁长寿，银杏喻法脉绵长，皆与中国画传统的比德观念相合。

Trees: The branches and trunks of the ancient trees are outlined and textured with thick ink. First, the main outline is drawn with the central brush tip, then the rough texture of the bark is textured with the side brush tip. Finally, a light ink wash is applied to give the branches and trunks both a three-dimensional feel and a sense of vigor. The leaves are painted using a pointillist technique, with indigo, malachite green, and light ink interspersed. This is not a traditional pure ink painting, but a colored ink landscape. The leaves are lush and heavy, depicting the verdant and ancient appearance of the Hengshan Mountains. The pine trees on the right are painted with strong brushstrokes, dense needles, and a deep ink tone—the central brush tip is used to outline the needles, and each needle is clearly visible. The juxtaposition of pine and ginkgo trees also evokes a sense of antiquity: the pine symbolizes nobility and longevity, while the ginkgo symbolizes a long lineage of tradition, both in line with the traditional Chinese painting concept of virtue.

　　2. 建筑山石：石墙、石阶、石栏杆以短线条勾勒，偏向写实，表现出南岳当地石砌建筑的质感， 石块大小不一， 砌缝清晰， 有的石面已风化剥落，更显古朴。 屋舍白墙黑瓦， 线条质朴， 尊重实景。 福严寺现存建筑多为清同治年间重修，山门上“福严寺”三字额匾、门侧“六朝古刹，七祖道场”石刻联语，皆为寺史之实证——画家写生所对，实为一部可触摸的建筑史。

Architectural Features: Stone walls, steps, and railings are outlined with short lines, leaning towards realism, showcasing the texture of local stone architecture in Nanyue. The stones vary in size, with clear joints, and some surfaces are weathered and peeling, adding to their rustic charm. The houses have white walls and black tiles, with simple lines that respect the real landscape. Most of the existing buildings in Fuyan Temple were rebuilt during the Tongzhi period of the Qing Dynasty. The plaque above the mountain gate with the three characters "Fuyan Temple" and the stone couplet on the side of the gate, "Ancient Temple of Six Dynasties, Dojo of Seven Patriarchs," are all evidence of the temple's history—the couplets were created by the painter during his sketches, making it a tangible architectural history.

　　3. 设色：属浅绛彩墨一路。浅绛一法，肇于元人黄公望，以赭石为主调，水墨为骨。周先生承其法而参以青绿，以墨骨为底，施以青绿、淡赭，色彩沉着不俗， 贴合南方山林温润幽深的氛围； 远景以淡墨晕染云雾， 营造深山氤氲之气，边缘自然晕化， 似有若无， 增强了画面的空气感与深远感。 衡山古称 “南岳独秀”，其烟云变幻最负盛名，“衡山烟云”向为潇湘胜景之一，画中云雾之法，正得其神。

Coloring: Belongs to the light ink and wash style. The light ink and wash technique originated with Huang Gongwang of the Yuan Dynasty, using ochre as the main tone and ink as the framework. Mr. Zhou inherited this style and incorporated blue-green, using ink as the base and applying blue-green and light ochre, resulting in a calm and elegant color scheme that perfectly captures the warm and secluded atmosphere of the southern mountains and forests. In the distance, light ink is used to blend clouds and mist, creating a misty atmosphere in the deep mountains, with the edges naturally blending, seemingly there yet not there, enhancing the sense of airiness and depth in the painting. Mount Heng, formerly known as "the most beautiful mountain in the south," is most famous for its ever-changing clouds and mist; "Hengshan Clouds and Mist" has always been one of the scenic wonders of the Xiangjiang River region, and the method of depicting clouds and mist in this painting perfectly captures its spirit.

　　六、方丈题画记

A Record of the Abbot's Inscription on a Painting

得知周先生来福严寺写生， 头天晚上， 大岳法师特意从衡阳雨母寺赶来陪同。小和尚净达引一行人至方丈室， 煮茶待客。 大岳法师与周先生畅谈近一小时， 谈书画、 谈诗文、 谈佛法、 谈人生……在得知笔者为文史爱好后， 题赠对联 “颂经澄俗妄 读史养宽心”。 随后应邀题画， 略作思考用他标志性的楷书题字 “深山藏古寺”，并披袈裟与大家合影留念，一时传为佳话。

Upon learning that Mr. Zhou was coming to Fuyan Temple to sketch, the Venerable Dayue specially traveled from Yumu Temple in Hengyang to accompany him the night before. The young monk Jingda led the group to the abbot's room, where tea was prepared for the guests. Venerable Dayue and Mr. Zhou chatted for nearly an hour, discussing calligraphy and painting, poetry and prose, Buddhism, and life… After learning that the author was interested in literature and history, he presented a couplet: “Reciting scriptures purifies worldly delusions; Reading history cultivates a broad mind.” Later, at the invitation of the abbot, Mr. Zhou inscribed a painting, and after a moment's thought, wrote the words “Ancient Temple Hidden Deep in the Mountains” in his signature regular . He then donned his robe and posed for a group photo, a moment that quickly became a popular anecdote.

　　场景细节： 方丈室陈设简朴，一几一榻， 案上置佛经与文房四宝。大岳法师慈眉善目， 谈吐儒雅， 与周先生纵论禅画相通之理， 中国自唐宋以来， 王维开 “画中有诗”之境，贯休、巨然皆以僧人擅画，书画与禅本是一家眷属。法师沉吟片刻， 提笔写下 “深山藏古寺” 五字， 字迹遒劲有力， 如古树盘根， 又含空灵禅意。方丈题款、 画家落名，一画之上僧俗合璧， 恰如千年前文人墨客与高僧唱和之风的当代回响。

Scene Details: The abbot's room is simply furnished with a small table and a couch, on which Buddhist scriptures and the Four Treasures of the Study are placed. Master Dayue, with his kind face and refined manner, discusses with Mr. Zhou the interconnectedness of Zen and painting. He notes that since the Tang and Song dynasties, Wang Wei pioneered the concept of "poetry within painting," and Guanxiu and Juran were both monks who excelled in painting; calligraphy, painting, and Zen are inherently related. After a moment of contemplation, the abbot picks up his brush and writes the five characters "Deep in the Mountains, an Ancient Temple Hidden," the characters vigorous and powerful, like the gnarled roots of an ancient tree, imbued with a serene Zen spirit. The abbot's inscription and the painter's signature complete the work, a harmonious blend of monk and layman on a single painting, a contemporary echo of the exchange between literati and eminent monks a thousand years ago.

　　七、艺术价值与文化内涵

Artistic Value and Cultural Connotation

这是一幅成熟完整的南岳主题写生彩墨山水， 重在表现衡山古寺幽深的实景风貌。

This is a mature and complete ink and wash landscape painting on the theme of Hengshan Mountain, focusing on depicting the secluded and serene scenery of the ancient temples on Hengshan.

文化解读： 此画不仅是对福严寺实景的记录， 更是对中国传统文化中 “隐逸精神”的现代诠释。“藏”字三重意蕴，一藏寺于林，是视觉的经营；二藏禅于山，是历史的纵深；三藏心于境，是精神的归宿。古树象征时间与永恒，山石象征稳固与坚定， 云雾象征变幻与虚空， 游人象征红尘与向往， 四者融为一体，正是“人在画中游，心在禅中定”的理想境界。

Cultural Interpretation: This painting is not only a record of the actual scenery of Fuyan Temple, but also a modern interpretation of the "spirit of reclusion" in traditional Chinese culture. The word "藏" (cáng, meaning "to hide") has three layers of meaning: first, hiding the temple in the forest, which is a visual arrangement; second, hiding Zen in the mountains, which is a historical depth; and third, hiding the heart in the scenery, which is a spiritual refuge. Ancient trees symbolize time and eternity, mountains and rocks symbolize stability and steadfastness, clouds and mist symbolize change and emptiness, and tourists symbolize worldly life and longing. The four elements are integrated into one, representing the ideal state of "a person wandering in the painting, a heart at peace in Zen."

　　技法传承与创新： 周先生上承宋人 “藏” 意、 元人浅绛， 下接当代写生传统，将银杏的点彩、 石墙的写实勾勒、 云雾的晕染融为一体， 既有传统根基，又有时代气息。“师法自然”， 正是从慧思开山到今日写生， 这座深山古寺一以贯之的精神——千年前慧思于此观心悟道， 千年后画家于此对景写真， 所求者， 皆是真实。

Technique Inheritance and Innovation: Mr. Zhou inherits the "concealment" spirit of the Song Dynasty and the light ink wash style of the Yuan Dynasty, while also connecting with the contemporary sketching tradition. He integrates the pointillism of ginkgo leaves, the realistic depiction of stone walls, and the hazy rendering of clouds into a unified whole, possessing both traditional foundations and a contemporary feel. "Learning from nature" is the consistent spirit of this ancient temple deep in the mountains, from its founding by Huisi to its sketching today—a thousand years ago, Huisi observed and attained enlightenment here; a thousand years later, painters depict the scene here, seeking only truth.

结语： 一幅画， 藏一座寺； 一座寺， 藏一个千年。 从南朝陈光大二年的般若禅林，到宋徽宗画院的夺魁佳题， 到龙应台仰望的叶隙浮云， 再到今日画中拾级而上的香客游人， 历史在宣纸上层层叠印， 古意与今情在笔墨中打成一片。 宜于厅堂悬挂，更宜于细细品读：读画，亦读史；观山，亦观心。

Conclusion: A painting encapsulates a temple; a temple encapsulates a thousand years. From the Prajna Zen Forest of the second year of Guangda in the Southern Chen Dynasty, to the winning inscription at the Song Huizong Painting Academy, to the floating clouds through the leaves gazed upon by Lung Ying-tai, and now to the pilgrims and tourists climbing the steps in the painting, history is layered on the rice paper, and ancient sentiments and contemporary emotions are intertwined in the ink and brush. Suitable for hanging in the hall, and even more suitable for careful reading: to read the painting is to read history; to observe the mountains is to observe the heart.

大唐武人

Great Tang Warrior

2026 年 8 月 27 日

于南岳山里人家

August 27, 2026,

in the mountains of Nanyue

　　周泽恩，1956年生于湖南省湘潭，现安居长沙。湖南省美术家协会会员，民革党员，民革中央画院常务理事，黄兴画院副院长，中国书画家协会理事。少好书画，从师于著名画家曾晓浒先生，主攻山水、人物、老虎。其作品玲秀中见大气，大雅中见雄浑，构思奇特。

Zhou Ze'en was born in Xiangtan, Hunan Province in 1956 and currently resides in Changsha. He is a member of the Hunan Provincial Artists Association, a member of the Revolutionary Committee of the Chinese Kuomintang (RCCK), a standing director of the RCCK Central Painting Academy, vice president of the Huang Xing Painting Academy, and a director of the China Calligraphers and Painters Association. He has loved calligraphy and painting since childhood, studying under the renowned painter Zeng Xiaohu, specializing in landscapes, figures, and tigers. His works are characterized by their delicate yet grand style, refined elegance, and powerful presence, with unique compositions.