Chinese landscape painting, as a unique art form, has become a precious cultural heritage of the Chinese nation with its high aesthetic value and philosophical connotation. As early as the Northern and Southern Dynasties, Zong Bing established the concept of landscape painting with his "Preface to Painting Mountains and Waters"; Afterwards, painters from various dynasties created a large number of immortal masterpieces, which are still an inexhaustible source of inspiration for art creators today. "Chinese Landscape Painting Dialogue Record" is a three year conversation between the author and nine art historians and critics. The conversation with these scholars not only traces back history and explores the essential issues of Chinese landscape painting, but also criticizes current phenomena and places deep expectations on the future development of Chinese art. My connection with Chinese landscape painting comes from the influence and cultivation of my hometown. Since the Ming and Qing dynasties, numerous literati have emerged in the Chaoshan Plain, nourishing the rich cultural atmosphere of this land. In the countryside, nature is the best classroom, and my childhood experiences of walking in the fields and running in the rain have become the source of my thinking and painting creation for many years. In 1972, at the age of 20, I was admitted to the Printmaking Department of Guangzhou Academy of Fine Arts. From then on, I began to receive formal and systematic painting training. From 1975 to 1977, I mainly focused on printmaking. In 1978, I was transferred to the Guangdong Artists Association. In 1979, I became a full-time painter at the Guangdong Academy of Painting and created works such as the traditional Chinese painting "Early Spring in the Mountainous Areas". From 1985 to 1998, I basically walked on two legs, co creating printmaking and landscape painting. After 1998, I focused on creating landscape painting and have been doing so ever since. Over the past thirty to forty years, landscape painting has become more like an old friend to me. When in high spirits, it reminds me to remain calm, when feeling bored, it listens to my confidences, and when lonely, it converses with me. In years of practice, I have gradually deepened my understanding of the spirit of landscape painting, realizing that landscape painting creation is not only an expression of one's own life insights, but also a profound understanding of the humanistic and Taoist spirit. It is a way of spiritual communication and a deeper understanding of life. In April 2012, the China National Art Museum held my landscape exhibition "Swallowing the Great Wilderness", which was a phased summary of my landscape painting career. In recent years, I have had more time to devote myself to the creation and contemplation of landscape painting. Walking non-stop, I cherish these moments very much. In addition to seizing the time to continue creating, I also hope to summarize and review my landscape painting creation and ideas from a theoretical perspective. Therefore, I have the preliminary idea for this book "Dialogue on Chinese Landscape Painting". In 2014, I asked my friends to help me find candidates, and Dr. Zhao Chao from the China Academy of Fine Arts came into view. Dr. Zhao Chao is proficient in art and has been studying painting since childhood. Later, he followed Mr. Jin Guantao to study philosophy. By the time of his graduation, he had completed the most important part of the research on the origin of Chinese landscape painting, which can be said to be a small achievement in his studies. He is knowledgeable in both philosophy and art, and it is most appropriate for him to lead research. After multiple rounds of communication, Dr. Zhao Chao presented nine topics for the conversation: "orthodoxy," "self-cultivation," "temperament," "writing skills," "teaching," "tradition," "extracurricular," and "innovation," and drafted a rough outline for each topic. These 9 topics are grouped in groups of 3, with a focus on internal learning at the beginning and external learning at the end