我不认为凡是抛开具象的抽象实验都是对西方现代艺术的效仿,我非常同意栗宪庭的看法,中国的抽象性水墨实验是“对大众要求艺术再现物象的审美习惯的超越,能引导大众直接从抽象的画面结构直达作者的心灵”(见栗宪庭《展示形式与中国水墨画的革新》)。实际上,中国水墨画从意象到抽象,是中国水墨画合乎自身逻辑发展的必然延伸。品读刘一原的《心象风景》,使人感到,既不是中国传统的意象,也不是西方现代的抽象。 I do not think that all the abstract experiments that throw aside the concrete images are the imitations of Western modern art. I very much agree with Li Xianting’s view that China’s abstract ink-and-ink experiments are “beyond the aesthetic habits of the public demanding the artistic reproduction of objects and can guide the public Directly from the abstract structure of the screen to the author’s mind ”(see Li Xianting“ display form and innovation of Chinese ink painting ”). In fact, the Chinese ink painting from the image to the abstract is the inevitable extension of the Chinese ink painting in line with its own logical development. Reading Liu Yiyuan’s “heart like landscape”, people feel that it is neither traditional Chinese image nor Western modern abstract.