在当今山水画坛中,张志民是一位在层面上进行求索的画家。在这一点上,人们似乎并不能从他的画作中一眼辨明。这是因为张志民精神境界的求索,抵达了一种超凡入圣的玄奥之域,而在表述上则采取类似庄子式的“谬悠之说,荒唐之言,无端崖之辞”。从表面上看,这种境界及表述方式与具体的绘画形态很难联系起来,对于一些只着眼于绘画技法,在“语言”构造上用尽心思琢磨的画家来讲,这一类玄奥的语言大都被视为一种空洞的无稽之谈。然而对于张志民而言,他的山水画种 In today’s landscape painting altar, Zhang Zhimin is a painter at the level of search. At this point, people do not seem to be able to discern from his paintings. This is because Zhang Zhimin’s quest for the spiritual realm has arrived at a kind of transcendent enchantment of ecclesiastical territory, while his formulation adopts a similar Zhuangzi-style theory of absurdity, absurd words and no precipice. On the surface, this kind of realm and the way of expression are difficult to relate to specific painting forms. For some painters who only focus on painting techniques and try their best to construct on the “language” structure, this kind of mysterious Most of the language is seen as a hollow nonsense. However, for Zhang Zhimin, his landscape painting