在资讯日益发达的时代里 ,地球已变得越来越小 ,“地域性”这个传统命题已在人们的生活视野中飞速消逝。然而 ,艺术却依旧如此顽强地扎根于“大地”(海德格尔意义上的 )——这个以地域为依托的沉重字眼召唤着我们 ,在我们尝试着向创作“自由”飞跃时不断提示着我们的限制。地域性首先是贯穿在艺术史、尤其是中国画史中的一个现实。本文试图从历史心理、传统风格的延续和发展等角度解析此概念在中国绘画史中的涵义和价值。另外 ,“地域性”在今天最显著地表现为中西文化之间的交汇与冲突。于是 ,它又指示着当今艺术家最为关心的“身份——差异”问题 ,本文最后一部分对之进行了初步论述 In an era of increasingly developed information, the earth has become smaller and smaller, and the traditional proposition of “regionalism” has vanished rapidly in the perspective of people’s life. However, art is still so tenaciously rooted in the “earth” (in the sense of Heidegger) - a heavy, domain-dependent word that calls us to constantly remind us as we try to leap toward freedom limits. Regionalism is first and foremost a reality that runs through art history, especially in the history of Chinese painting. This article attempts to explain the meaning and value of this concept in the history of Chinese painting from the perspectives of historical psychology and traditional style. In addition, “regionalism” is most obviously manifested today as the intersection and conflict between Chinese and Western cultures. As such, it also points to the issue of “identity-difference” that artists are most concerned about, as discussed in the last part of this article