一个世纪以来,在民族绘画传统的理解与继承上,出现过许多糊涂的倡导。例如许多人正气凛然地把笔墨当成中国画的底线,有的又同样正气凛然地把宣纸水墨当成中国画的正宗,又有人把逸笔草草的写意而且是大写意当成中国画的正脉,亦有人把以书入画、书法用笔当成传统绘画之正统……人们在倡导或主张这些观念时,往往都颐指气使,一副唯独自己得道真理在握的凛然神气,其他任何另有他途的画家不是旁门左途,就是邪门歪道!但如果真正认真地研究过中国美术史,认真研究过中国美术 Over the past century, there have been many muddy advocates in the traditional understanding and inheritance of ethnic painting. For example, many people righteously use the brush and ink as the bottom line of Chinese painting. Some even regard righteousness and aura as the authenticity of Chinese painting. Others regard the freehand brushwork and the uppercase meaning as the positive pulse of Chinese painting. Calligraphy and painting, calligraphy pen as a traditional orthodox painting ... People advocate or advocate these ideas are often misguided, a solemn self-truths in their grip on the awe-inspiring, the other any other way to his painter is not side by side Way, is a crooked way! But if you really seriously studied the history of Chinese art, carefully studied Chinese art