中国画是水文化的产物。如果从地缘看,中国画的发展无疑是沿长江流域和太湖水系而形成水性文化史,这不仅有山水画最终成为中国画的主流为证,而且还有以水性植物与水性动物而入画的花鸟画为据。大凡生于斯长于斯的画家,无不以水性自然陶染于心,也无不以水性情怀返观世界。 自幼生长在江海之滨的顾凤珍,不仅沉湎于田园牧歌式的江南山水,而且对水中之鱼,水中之藻情有独钟。1958年她考入南京师范学院美术系,大学毕业后分配到镇江从事美术教育,又一个“江”字,将 Chinese painting is the product of water culture. Judging from the geographical point of view, the development of Chinese painting is undoubtedly a history of water-based culture along the Yangtze River and the Taihu Lake. This is evidenced not only by the fact that the landscape painting has finally become the mainstream of Chinese painting, but also by flower and bird paintings that use water-based plants and aquatic animals . Mostly born in Sri Lanka’s painter, all with water-based natural clay in the heart, but also all back to the world with water-based feelings. Gu Feng-chen, who grew up in the sea of ​​Jianghai since he was young, is not only indulged in idyllic Jiangnan landscape but also enjoys soft spot for fish and water in the water. In 1958 she was admitted to Nanjing Normal University Department of Fine Arts, after graduating from university assigned to Zhenjiang engaged in art education, another “river” word, will