在我看来,圣进最突出的地方表现在对待前人和当代名家的艺术成就时,一直有着自己清醒的认识。中国画作为最能体现中国民族精神的艺术门类之一,就必然要牵涉到对前人成就的承袭问题。看似越简单的问题做起来却越难,尤其是在经历了上个世纪的“五四”运动、“文革”乃至“85美术新潮”的风风雨雨后,对一些问题的看法显得日渐多元而纷乱,而其中提到最多的莫过于创新。不过从某种意义上讲,这等于什么都没有说,因为继承和创新 In my opinion, the most prominent place of the sacred mission has always been its own clear understanding of the artistic achievements of its predecessors and contemporary masters. As one of the art categories that can best embody the Chinese national spirit, Chinese painting inevitably involves inheriting the achievements of its predecessors. It seems that the simpler the problem is, the harder it is to do it. Especially after the ups and downs of the “May 4th Movement”, “Cultural Revolution” and even “85 Art Trendy” in the last century, The views of the problem appear to be more diverse and chaotic, and the most mentioned of them is innovation. But in a sense, this amounts to nothing, because of inheritance and innovation