中国绘画,登堂而入室,常引为宗亲家族的陶养与训诫,故当有正大之气。第四届杭州·中国画双年展依循“生态中觅生机、活化处继活力”的方法,以“正大气象”为主题,以中堂绘画为田园,来重建中堂绘画所代表的家国之颂、诗画之雅、民乐之风的诸般意味,再访中国书画与人居精神的内涵之所。中堂,既指屋宇的空间重地,又系家族的威权核心。大约中国的古代,从南至北,房屋筑造的材料虽有砖木之变,但营布的核心总在中轴上的正厅,却是不易。上世纪70年代,我所上的中学是福建沙县一中,那里原是 Chinese painting, Deng Tang and baptism, often cited as clan relatives of Taoism and admonition, so when there is a chivalrous atmosphere. The 4th Hangzhou Biennial of Chinese Paintings follows the method of “finding vitality and revitalizing vitality in ecology,” with the theme of “Upright Atmosphere” and the painting of Zhongtao as a pastoral field, to rebuild the house represented by Zhongtang painting The song of the country, the elegance of poetry and painting, the style of folk music, and the re-visit of the connotation of the spirit of Chinese painting and calligraphy and human settlements. Zhongtang, refers to the space of buildings, but also the authoritarian core of the family. About ancient China, from south to north, although the material of housing construction has changed from brick to brick, the core of Yingbu cloth always lies on the central axis of the main hall, but it is not easy. 70s of last century, I am in secondary school in Shaxian County, Fujian Province, where it is