阮荣春先生于2006年发表题为《20世纪中国山水画的历史定位及画风趋向》的文章,矛头直指20世纪以降中国山水画坛以黄宾虹、傅抱石、李可染、张大千等为代表的主流画风,认为他们没有一个能望古代大师的项背。~([1])此语一出,无疑像在中国美术界扔下一颗重磅炸弹,一时南北哗然。因为在今天的美术界,此四者的传人遍布全国各地,否定了他们心中的圭皋,群情激愤,可想而知。实质上阮荣春先生之所以如此,是对他艺术创作的反思和对当今艺术界的诘问。虽然他早年毕业于国画专业,但之后投身于林树中先生的门下,从事美术史与佛教艺术的研究,声名远播国外。虽然阮荣春先生 In 2006, Mr. Nguyen Rong Chun published an article titled “Historical Orientation and Style Trends of Chinese Landscape Paintings in the 20th Century”, pointing to the mainstream style of the Chinese landscape painting represented by Huang Binhong, Fu Baoshi, Li Keran and Zhang Daqian in the 20th century. Think they do not have a look back to the ancient masters. ~ ([1]) This term comes out, no doubt like in the Chinese art world dropped a blockbuster, a sudden uproar North and South. Because in today’s fine arts world, the successors of these four people spread all over the country, and they denied the prestige and passion in their hearts. In fact, Mr. Ruan Rongchun is so reflective of his artistic creation and his questioning of today’s art world. Although he graduated from the early years of Chinese painting professional, but later engaged in Mr. Lin Shuzhong’s door, engaged in art history and Buddhist art research, fame abroad. Although Mr. Nguyen Rong Chun