吴强攻山水,既善水墨又工青绿,水墨一路,画风工整细腻,意境清幽玄远;青绿一路,用笔严谨,设色古雅,层次变化微妙。这两种画法在格调取法上都极力上追唐宋元明,画风守于传统,用墨润净清雅,设色程序清晰,与时下画坛盛行的伪“黄宾虹”的瞎涂乱抹或者标谤取法宋元却别有“现代”意识的画家作品有很大的不同。从吴强的作品中寻找他取法和变化的源头并不困难,他的笔墨方法、程式运用、位置经营都出入于传统,在意境上刻意营造 Wu Qiang attack landscapes, both good ink and green, ink all the way, style neat and delicate, artistic conception of quiet Xuan Yuan; green all the way, with a pen rigorous, quaint color, subtle levels of change. These two kinds of calligraphy in the style of access are strongly on chasing the Tang and Yuan Dynasties, style of the traditional, with clean and elegant ink, clear color procedures, and nowadays the prevalence of false “Huang Binhong” blind smear wipe or There is a big difference between the defamation of the Song and Yuan Dynasties and the works of the artist of “modern” consciousness. It is not difficult to find the source of his taking and changing from Wu Qiang’s works. His method of writing and brushing, the application of his style and the management of his position are both traditional and consciously constructed