国画的当代化,亦即国画当随时代的命题,自五四以来一直是无数画人竞折腰的问题。在“师长技”以图强的情况下,唯西论、中西结合论、唯中论等纷呈。在此过程中,我们对国画的笔墨形式、墨色技法、语言符号、空间构成、表达意趣,甚至作画工具、承载物体都进行了前所未有的演绎,形成的艺术流派琳琅满目。转眼间,我们在十字路口的徘徊探索已历两 The contemporaryization of Chinese painting, that is, the proposition of Chinese painting as the times, has been the crux of the innumerable painters since the May 4th Movement. In the “teacher skills ” to map strong case, the only Western theory, the theory of Chinese and Western integration, theory and so on. In the process, we have performed an unprecedented performance on the brushwork, ink techniques, language symbols, space composition, expression of interest, and even painting tools and bearing objects of traditional Chinese painting. In an instant, we have experienced two wandering at the crossroads