细微状态的描绘,对人物精神状态的入微刻画渐被文人画粗放帅意的笔墨所代替,题材与内容也愈来预选狭小。文人画所赖以存在的基础是水磨和生宣,运笔的写意性和水磨在生宣上的自然流动润化,使中国水墨画的抽象意味更加浓厚,同时也为人物画的精微刻画、造型的相对确定性设置了很大障碍,这也是明清以来人物画发展较慢的一个原因。我们必须正视传统水墨画的语言形式和文化几点与现代人文状态所存在的对抗性。只有将传统水墨画的毛笔、水墨、宣纸视作与其他材料相同的工具,视作物质本身,这样才能凭借生命的经验以物即道。石涛曾言“古人之肺腑,不能安入我之服肠”。同样,古人之器物又岂能必为今人所用?做画久的人往往容易越画越纯熟,但画面中鲜活真实的性情越来越少,激动一回也难了。有时也满足于这种状态,自信得很。实际上危险已经开始,画了多年可能离“艺术”越来越远了。 Subtle state of the portrayal of the mental state of the characters into the gradual literati paintings gradually replaced by the handsome meaning of the ink, the subject matter and content are increasingly pre-selected small. The foundation of the literati painting lies in the natural flow and moistenness of Shuimo and Shengxuan, Mo’ing pen and water mill in the life propaganda, which make the abstract meaning of Chinese ink painting more thick, and at the same time, it is also the portray of portraits of portraits The relative certainty sets a great obstacle, which is also one of the reasons for the slow development of figure painting since the Ming and Qing Dynasties. We must face up to the confrontation between the language forms and cultures of traditional ink painting and the modern humanistic conditions. Only the traditional ink brush, ink, rice paper as the same tool as other materials, as the material itself, so that by virtue of the experience of life to materiality. Shi Tao has said “the ancients of the heart, can not be placed in my service intestine.” In the same way, how can the ancient artifacts be used by today? People who paint for a long time tend to paint more and more skillfully. However, there are fewer and fewer vivid and real temperaments in the screen, and it is hard to be excited once in a while. Sometimes satisfied with this state, very confident. In fact the danger has already begun, drawing for years may be farther away from the “art.”