在二十世纪末回顾绘画的百年历程,一切都看得更清楚了。对刘国松的绘画自不例外。本世纪以来,特别是五四新文化运动以来,神州大地便步入了历史转型期,从古代文明向现代文明转化。社会结构、文化理念、生活形式以及视觉观念都进入了前所未有的革故鼎新之中。刘勰说过“文变染乎世情,兴废关乎时序。”一向被国人视为“文之极”的绘画,也无可避免地发生了史无前例的变革。变革的内部需求,是清末民初中国传统绘画的极端守旧,只知摹古,无所创造;促成变革的外来刺激,是国门开放后西方文化艺术的挑战,千姿百态,新构层出。于是,中西文化的冲突、交流与融汇,为变革中的我国绘画带来了新的机遇。虽然阻碍变革的守旧势力依然十分强 Looking back over the centuries-old painting at the end of the twentieth century, everything became clearer. The painting of Liu Guosong is no exception. Since the beginning of the May Fourth New Culture Movement, since the turn of the century, the land of the Divine Land has entered a period of historical transition and has been transformed from ancient civilizations to modern civilizations. Social structure, cultural ideas, lifestyles and visual concepts have entered an unprecedented revolution. Liu Yong said: “Wen changed the world situation, rejuvenation related to timing.” “Chinese people have always been regarded as ” Wen Wenji "paintings, but also inevitably took place unprecedented changes. The internal demand for change is that the traditional Chinese painting of the late Qing Dynasty and the early Republic was extremely old-fashioned, only known to be copied from ancient time and never created. The external stimulus to change was the challenge of Western culture and the arts after the country’s opening up. As a result, the conflicts, exchange and integration of Chinese and Western cultures have brought new opportunities for the changing Chinese painting. Although the conservative forces that hinder change are still very strong