△传统好比一座大庄院,在外面怎能知道它的内部结构以及轩堂陈设,必须走进去,浏览一番,登堂入室,然后从后门出,了然于心。进去不容易,出来更难。有几个人学画,能够入而能出?这是不容易的。清朝末期,山水画衰颓已甚,无—大家能跳出成法。主要原因,由于历代精品尽入内府,民间极难看到;又,印刷术也不昌明,木刻本和真迹出入甚大,又不到大自然中吸收养分,丰富自己,只是互相临摹,在故纸堆中讨生活,以致一代不如一代。 △ tradition is like a big courtyard, outside how can you know its internal structure and Xuan Tang furnishings, you must go in, browse some, Deng Tang into the room, and then out from the back door, then in the heart. It’s not easy to get in, it’s harder to come out. There are a few people who learn to draw, and can come in and out? This is not easy. Late Qing Dynasty, landscape decay has been very, no - we can jump out of the law. The main reason is that the fine arts have never been seen in the interior because of the finest quality in ancient times. In addition, the printing technique is also not very clear. The woodcut and the authenticity are very different from each other. They do not absorb nutrients and enrich themselves in nature. , Resulting in a generation less than a generation.