人们常说,“写意”是中国画的艺术精神。当代学者韩玉涛甚至说“中国艺术史,是一部写意史”“中国美学,是草书主义、写意主义”。这自然是指艺术精神而言。他将“写意”提升至“灵魂”“主义”的高度进行弘扬,真可谓石破天惊之论。然而,当今中国画的写意精神却早已不知飘向何方。不夸张地说,现当代中国美术史,恰恰是一部写意精神不断被销蚀、不断被斫丧、不断被遮蔽的历史。当下的中国画创作,尽管有所谓“笔墨”“写意”的论争或倡明,而其实,笔墨与写意已经离我们 People often say, “freehand” is the artistic spirit of Chinese painting. Han Yu-tao, a contemporary scholar, even said that “the history of Chinese art is a history of freehand writing”, “Chinese aesthetics is cursive writing and freehand writing.” This naturally refers to the spirit of art. He will be “freehand ” raised to “soul ” “doctrine ” height carry forward, can be described as startling. However, the spirit of freehand brushwork in today’s Chinese painting has long been unknown. It is no exaggeration to say that the history of contemporary Chinese art is exactly the history of a constantly degraded spirit that has been continuously eroded and constantly being shamed. The contemporary Chinese painting, despite the controversy or advocacy of the so-called “pen and ink” and “freehand brushwork”, actually, the brushwork and the freehand brushwork have left us