藝術可說是生活的調劑者，山水畫最難人可貴之處，是在於它具有詩性及感性，更是超然物外，氣韻生動，讓人觀賞後賞心悅目、神清氣爽。
清澈的水是透明的，不僅映出各種外部影像，也深入人們的內心之中，透過水的不同型態，引發個人對於人生多方面的思維，水的意象很多，意蘊豐富。
水的表面現象常給予人一般印象是”柔”與”弱”是水的表面現象，或者說是水形態的一個方面，但是在筆者的觀念中，這水的”柔”與”弱”並非意味水缺乏力量，水在柔弱中蘊含著剛強的韌性，石頭經過水不斷的浸蝕與滴落，便將堅硬的石頭穿透，鼓勵人們有志者事竟成，只要持之以恆努力不懈就能夠成功。
水還可以改變多種形態，這個特點似乎與人格的品格行為相似，例如:水在氣態柔弱似無，在液態的水柔弱無物，但卻難以使其受損，如固態的水為冰，冰很堅硬，但卻易損，易碎，如性格暴躁的人脾氣火爆，爭強好勝，但有時卻因此而易受挫折和遭受損失，但是，靜態的水又讓人內心寧靜，不會擾亂人的內心，消除外界事物對內心種種干擾。
筆者在空閒時，喜歡參加登山涉水與大自然接觸的活動，身邊有青山、綠水、飛瀑相伴，身心感覺無比舒暢，山中的寧靜、見到瀑布如水花飛舞，如大珠小珠落玉盤中，細聽溪流的潺潺流水聲、霎那間體悟人生之道，願自己心境能像如水的柔性及精神，因此決定這次創作透過自然界中山水瀑布的美，運用筆、用墨來傳達筆者對山水瀑布自然現象，得以遷想妙得進而觀察作為研究的繪畫題材，再將瀑布「具象」符號，筆墨來傳達「抽象」的意念，對瀑布所形成千變萬化，煙霞朦朧之意象，令人遐想，徒增筆者對創作靈感想像空間，運用水墨畫詮釋瀑布精神所在之意境。
中國山水畫發展，數年不衰，由流傳所存下來的畫蹟、畫史、畫論和考古出土中的資料可顯示出來，自古以來得畫家頗多，宋人於此尤為精彩，如范寬的谿山行旅圖，飛瀑直下，讓觀畫者隱約聽到山谷泉聲，其溪泉似斷非斷，源遠長流，淙淙流水訴諸為有形的實體，觀瀑長流使得筆者在緊湊的生活步調，尋回發自內心的舒暢與寧靜。
藝術作品是畫家情感的反映，因為喜歡大自然瀑布的動、靜之美，再者，筆者學習傳統山水畫亦行之有年，希望藉由此次能揉合傳統與自動技法對瀑布這個主題進行創作，企圖在此能找到自己的形式和風格，在計白當黑、虛實相生、形與色的融合產生獨創性美感，山水瀑布的物象是有限，在似與不似之間如何在創作中為心中意象之境。在中國山水畫裡無論在技法或認知上都會更加邁進一步。

Art can be considered as a way to make life pleasurable. Landscape painting，often valued for its poetic and sensible style，can make people feel happier and refreshed with its more vivid and extravagant elements. The transparent water not only reflects various external images，but also penetrates into people's hearts. The ubiquity of water in these paintings exemplifies the abundance of its meanings. The different forms of water lead individuals to think about all aspects of life.
“Flexibility and frailness” are the general external impressions that water，or the aspect of water，gives to people. However，in the author's concept，“flexibility and frailness” of the water do not mean that the water lacks strength. Water is resilient. The rocks are eroded by the continuous etching and dripping of the water，and are finally penetrated by the water. This process encourages people to believe that if there is a will，there is a way. As long as you continue to work hard，you will be successful.
Water can also change into various forms，which is a feature that is similar to personal character traits. For example，water in the gaseous and liquid state can be considered weak，but in turn are unlikely to be easily damaged. In the solid form of water，ice is very hard，but is also fragile and brittle. People who are competitive and have a quick temperament may be more vulnerable to setbacks，thus suffer more losses. The static form of water can make people feel quiet and does not disturb the inner heart; therefore，it can eliminate the interference of the outside world to the mind.
In my free time，I enjoy mountain climbing and water wading，which allow me to be surrounded by green hills，green water and waterfalls which comfort my mind and body. The tranquility of the mountains，the splashing waterfalls like beads falling onto a jade plate，and the sound of the flowing water in the stream，all help me suddenly understand the meaning of life. I wish my mood and spirit can be as flexible as water.
In my current creative process，I have decided to take the natural beauty of waterfalls as the theme of my research. Through the use of pens and inks，I imagine and observe the natural phenomenon of the waterfall and then convey the waterfall as a figurative symbol. The image of the haze is fascinating to me，and my abstract idea comes from the ever-changing shape of the waterfall. I，as the artist，add imagination to this space of inspiration and use ink painting to conceive the artistic interpretation of the spirit of the waterfall.
The development of Chinese landscape paintings has been thriving for many years. The paintings and archaeological materials unearthed from the excavation have presented the history and theory of many painters since ancient times. In the Song Dynasty，Fan Kuan’s drawing of the Xi Shan traveling allows the viewers to faintly hear the sound of the valley springs. Although the brook seems to be broken，it still runs long. In the midst of the tangible turbulent water，the author is able to find comfort and tranquility in the heart，watching the continuous flow of the waterfall，and relish a steady pace of life.
Works of art are the reflection of the artist's emotions. Because I like the beauty of nature and the beauty of the waterfall，I have studied traditional landscape painting for a long time. I hope that I can proceed to create unique aesthetics with this theme of waterfalls by combining traditional and modern techniques. By incorporating unique combinations of black and white spaces，shape，and color，I can find my own form and style. The image of a landscape is limited; how can one create an image bridging similarity and dissimilarity? Through this process，Chinese landscape painting technique and understand will be advanced even further.

一、中文專書
1. 史作檉，《水墨十講 哲學觀畫》，台北，典藏藝術，2008年
2. 《宣和畫譜卷十一》，台北，臺灣商務，1983年
3. 張有池，《老子》，新北市，智揚，1999年
4. 劉道醇，《聖朝名畫評-佩文齋書畫譜卷四九》，台北，新興書局，民58年
5. 王耀庭，《山水畫法1‧2‧3》，台北，雄獅圖書，民國87年
6. 北宋 郭熙，周遠斌點校篆著，《林泉高致》，濟市，山東畫報，2012年
7. 伯精，《論山水畫》，台北，學生書局，民國60年初版
8. 余紹宋，《畫法要錄二篇-卷五》，浙江，浙江人民美術， 2016年
9. 吳怡，《新譯老子解義》，台北，三民書局，2016年
10. 李中鋒、張朝霞，《水與哲學思想》，北京，中國水利水電，2015年
11. 周鐵寧，《畫餘畫論》，天津，天津人民美術，2015年
12. 明．董其昌，《中國畫論類編-畫禪室隨筆》，上海，河洛，1975年
13. 詹前裕，《中國水墨畫》，台北，藝術圖書，1998年
14. 黃賓虹等，《美術叢書09：初集第九輯》，浙江，浙江人民美術，2013年
15. 楊維禎，《中國畫論類編-圖繪寶鑑序》，上海，河洛，1975年
16. 蔣勳著，《美的沉思-中國藝術思想芻論》，台北，雄獅圖書，2009年
17. 薄松年，《中國藝術史》，台北，聯經，2006年
18. （明）何良俊，《四友齋叢說》，北京，中華書局，1982年

二、網路資料
1. 宋韓著，《山水純全集‧論水》，http://t.cn/SvS86U，2017/11/05查閱。
2. 米家路著，《望道與旅程:中西詩學的幻象與跨越》，http://t.cn/RrI35JY，2019/04/28查閱。
3. 佚名，《讀古詩詞網》，http://t.cn/EoZBJiX ，2019/5/5查閱。
4. 《雅昌藝術網》，http://t.cn/E9D8uHk ，2019/5/5查閱