近之论画者,言风格者少,究图像者多。每以视觉文化理论,解读图像意义。揭示意义,固有益于历史研究,而不谙画理画法者,亦可为之。夫疏于本体而热衷他律,虽时尚使然,而于艺术学者,昧于审美鉴赏,岂辨高下,不通渊源流变,曷知究竟?于是,著述虽多,而探究审美之要义,时不一见,考究心源造化之理,茫然无措。艺术史至于艺术,未免渐行渐远矣。近之论山水画者,每离丘壑而倡笔墨,舍境界而崇气韵。虽于笔墨如零之论,不无矫枉之功,而矫枉过正,遂使 Nearly the theory of painter, less style of speech, study more images. Every visual cultural theory, interpretation of image meaning. It is also useful for us to reveal the meaning and be good for historical research, but not for the art of drawing and painting. Although husband and wife indulge in the law and devote themselves to the law, although fashion makes sense, while in art scholars ignorant of aesthetic appreciation, Do not see, well-made source of reason, at a loss. Art history as art, is bound to move away. In recent years, the landscape painter, advocating ink for every mound and sacrificing his realm for Chong Yun. Although the pen and ink is zero, not without overkill, and overkill, then make