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1986年至1987年期间,我在澳大利亚南昆士兰大学艺术学院任教东方艺术课程。假期,校方动用了越野车、小飞机,请了土著导游安排我旅行写生,让我有机会穿越了澳洲中西部沙漠。那是一个广阔无垠的由细碎岩块拼合、镶嵌,由红土黄沙铺展的、被太阳烤干了的、被风吹蚀的砾漠平原。我看到了一个又一个桌状平顶山、干涸的河床、深深的峡谷和嶙峋狰狞的山峰岩石麓剥蚀面,看到了原始、神奇、美丽的拉奥拉土著岩画,看到了“沙海生命之舞”和“埃耶斯岩——澳洲红色的心脏”。这一切,不能不给我以强烈的震撼。在国内的大学,我教学生临写宋元山水,也曾与画坛同道一起闹腾过中国画革新其狂热多于理智,其浮浅多于深沉。澳洲沙漠之旅后,我又同
From 1986 to 1987, I taught Oriental Art at the Art Institute of the University of Southern Queensland, Australia. Holidays, the school mobilized a sport utility vehicle, a small plane, invited the indigenous tour guides arranged for my travel sketch, so that I have a chance to cross the desert of central and western Australia. It was an expansive, wind-blown, gravel-blown plain that was made of finely divided pieces of rock, inlaid with red yellow sand, dried by the sun. I saw one after another table-top flat-topped mountains, dry riverbed, deep canyon and the eroded surface of the rocky mountain peaks, saw the original, magical, beautiful Laora indigenous rock paintings, saw the “dance of the sand life ”And“ Eyers Rock - The Red Heart of Australia. ” All this, can not but give me a strong shock. In domestic universities, I teach students to write Song and Yuan Dynasties landscapes, but also with the painting circles fellow Chinese naughty innovation more fanatical than rational, more than shallow superficial. After the desert trip in Australia, I again with