20世纪五六十年代,以写生为标志兴起的山水画革新运动,成就了傅抱石的“散锋皴”法、石鲁的“色墨混皴”、李可染的“以大观小”的构图方式、陆俨少的“留白”与“墨块”画法等。他们皆完成了从写生到个性图式建立的过程,并成为此一时期山水画语言创新的经典个例。山水画创作也在这一阶段不断趋于宏大、阳刚、浑厚的审美趣味,实现了从古典形态向现代图式的转型。7月11日,由中国美术家协会、中国艺术研究院、中国国家画院、天津美术学院共同主办的“太行浩气——吕云所中国画作品展”在中国美术馆开幕。吕云所开始创作于60年代初,至 In the 1950s and 1960s, the reform movement of landscape painting, which took the sketch as a symbol, became a successor to the “landscape painting” by Fu Baoshi, the “color mixing” by Shi Lu, and the “ ”Composition method, Lu Yan less“ ”white “ and ”ink block “ painting method and so on. They all completed the process from sketch creation to the establishment of individuality schema, and became the classical example of the language innovation of landscape painting in this period. Landscape painting at this stage also continue to trendy, masculine, vigorous aesthetic interest, to achieve the transformation from the classical form to the modern schema. On July 11, ”Taihang Haoqi-Lu Yun’s Chinese Painting Exhibition" co-sponsored by Chinese Artists Association, China Academy of Art, China National Academy of Painting and Tianjin Academy of Fine Arts was opened in China Art Museum. Lu Yun began writing in the early 60s, to