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我和玉明都是1949年后出生的,虽然成长的经历有所不同,但毕竟都生活在新时代,所以我们早期的艺术观念也颇有一些相通之处。只是进入到20世纪90年代以后,因玉明的生活与工作环境发生了很大的变化,我们关注事物的视角逐渐不一样了。但是,我们的追求却是一以贯之的,那就是寻求在现代语境下的中国画的传承与发展,这也是当下画家无法回避、必须面对的问题。山水画是中国画的最重要的画科,在传统中,山水画都是以自然山川景观为主要描绘对象的,是中国人情思厚重的沉淀。寄情山水的文化意识,以山为德、以水为性的内在修为意识,咫尺天涯的神游意识,一直是山水画演绎的中轴主线。它
Both me and Yuming were born after 1949. Although their growth experiences are different, they live in a new era after all. Therefore, our earlier artistic concepts are quite similar. Only into the 20th century, 90 years later, due to Yuming’s life and work environment has undergone great changes, we focus on things gradually different perspectives. However, our pursuit is consistent. It is to seek the inheritance and development of Chinese painting under the modern context. This is also the problem that the present painter can not avoid and must face. Landscape painting is the most important painting section of Chinese painting. Traditionally, landscape painting is characterized by natural mountains and rivers as the main object of painting. It is a heavy precipitation of Chinese human feelings. Sentimental landscape of the cultural awareness of the mountains as the virtue of water as the inherent cultivation of consciousness, the world of foot wandering consciousness has always been the axis of landscape interpretation of the main line. it