“二者之间”文艺复兴后的欧洲,在一个较长时间内的绘画作品是比较写实的。当时的艺术家着迷于在二维的画布上去营造三维的效果。光影效果和透视的介入使得这种“假象”更加的“真实”。而中国传统的人物、山水是比较平面的,是没有光影和焦点透视的。所以中国传统的绘画作品是平面的、二维的。(当然从另一个角度说可能更忠实内心的真实)马志明的《传统痕迹》《溪头岸边》《太行山景》这几个系列的作品确游弋在二者 “Between the two ” Europe after the Renaissance, in a longer period of painting is more realistic. The artist at the time was fascinated by creating three-dimensional effects on two-dimensional canvas. The involvement of light and shadow effects and perspective makes this “illusion ” more “real ”. The traditional Chinese characters, landscapes are relatively flat, there is no light and focus of perspective. Therefore, Chinese traditional paintings are both planar and two-dimensional. (Of course, from another perspective may be more loyal inner truth) “Maoming” traces of traditional “Creek Head Bank” “Taihang Mountain View” these series of works is indeed cruising in both