This essay, published in English translation, presents the contemporary Guangzhou landscape painter Lin Hanqin. Trained in calligraphy from childhood and educated at the Guangzhou Academy of Fine Arts, Lin studied the Four Wangs and the earlier Song and Yuan schools before developing a personal language through decades of travel. He now lives on Lianhua Mountain near Guangzhou, observing nature daily and transforming what he sees into inner images, in the spirit of Mencius’s “flood-like qi”. The authors emphasise that Lin brings calligraphy into painting: his lines, informed by the cursive script of Huai Su, are free yet controlled, woven into clouds, mists and waves that loosen the boundaries between mountains, water and sky. Removing narrative elements, he uses layered strokes and shifting light to create multi-layered spaces and an “alienated” nature, likened to the great roc of Zhuangzi’s “Carefree Journey”. For Lin, landscape is no longer a noun but a process through which the painter’s body and consciousness meet the world, combining the poetry of mountains and rivers with their latent trauma. The essay asks where ink landscape belongs in contemporary art and suggests that it may gain a new dimension in facing present-day problems.