本文主要聚焦於張光賓自2005年以後所創之「焦墨排點皴」作為論述重點，探討看似傳統的作品裡所隱藏的內在變革。其畫作實踐了對文人畫體系此一傳統繪畫美學思維的繼承與顛覆的雙重性。從「點」皴法的文本分析切入，說明張光賓「焦墨排點皴」承襲書法入畫的傳統，卻又完成的變革，例如將「點」從配角的位置反轉到主角；以積點成線的皴法解構傳統線皴系統；以去水、去色、去染改變傳統用墨對偶美學觀；一改層疊聚散渲染為單層排列墨點；以「均質性」挑戰傳統文人品味等筆墨與構圖的變革成就。透過與傳統和當代作品的美學理論及圖像比較，說明其皴形在傳統內部變革的創作路徑，此以古為新的雙重性乃對傳統山水畫的當代轉化提供一種既解構又重構的創作模態。

The article presents a discussion about Chang Kuang-bin's dot-to-line ink strokes:"JaoMoPaiDian Chun", which shown the transformation from traditional ink landscape painting. It demonstrates the duality that combines insistence and subversion to the esthetics of traditional literati painting. Though obey painting combo with calligraphy, but changing the esthetics judgment specification and method of traditional ink brush. Such as: Using the single-layered ink dots to replace the multi-layered. Abolishing the traditional method of three sides rocks line schema into dot-strokes flattened way. Reversing the 'dot' from supporting role to foremost position; he abolishes the accustomed skill role which water usually mixed with ink. He removed the moisture and color interference. The analysis attempts to explain how Zhang's works creates from the traditional way to contemporary style. That provides a method which even though uses traditional tools still can deconstructs old modus and old aesthetics.