当我们翻开山水画的历史画卷,回眸数百年中国山水画发展轨迹,我们不难窥视,传统的山水画艺术作为一个体系,是由一代又一代具有代表性的、杰出的艺术家不断创造的积累,它具有艺术精神的内核和艺术形式的表层。当下,这些大师的不朽作品仍然感染着、激励着今天的读者,在上海隆重举办的“晋、唐、宋、元国宝展”参观者无不为之惊赞,说出了“今不如昔”的感慨,这些作品凝聚着民族的审美追求、知觉和情感,从技法上看,其笔墨表现潜力已发挥到了极致。前辈画家的成就,业已成为历史,而在现代意识的声浪和现代艺术的面前,从事中国画创作的中青年画家似乎陷入两难的境地,恪守传统的,便有保守之嫌,不守传统便有损于中国画特有的情味,使之失去平衡,纵观中国绘画史上的成功者,他们的艺术魅力,无非是恰到好处地把技巧化为意境,把自然界的神韵升华出来,从有限中找到了无限,从无限中体现意蕴,并诗化人最基本的生活体验和生活感情,从意境到境界,从境界到 When we turn over the historical landscape of landscape painting and look back on the development track of Chinese landscape painting for hundreds of years, we can see that the traditional landscape painting art, as a system, is created continuously by generations of representative and outstanding artists Artistic core and artistic form of the surface. Today, the immortal works of these masters are still infected, inspired today’s readers, all held in Shanghai, “Jin, Tang, Song, Yuan Bao Exhibition,” all the visitors were amazed that the “not as good as the past” Emotionally, these works embody the aesthetic pursuit, perception and emotion of the nation. From a technical point of view, the performance potential of the brush and ink has reached the limit. The achievements of the older painters have become history. In the face of the modern consciousness and the modern art, young and middle-aged painters engaged in Chinese painting seem to be in a dilemma, abide by the tradition and are suspiciously conservative. In the unique taste of Chinese painting, so that the loss of balance, look at the history of Chinese painting the success of their artistic charm, nothing more than right to art into the mood, the sublime of the natural sublimation, found limited from the infinite, Embodies the meaning from infinity, and poets the most basic life experience and feelings of life, from the mood to the realm, from the realm to