新语境之下,古典意义的文人已然绝迹,书法普遍性时代一去不返,千年笔墨样式又藩篱重重,以创新为尚的时代加以“影响的焦虑”(哈罗德·布鲁姆语),难免有“行到水穷处”之感;另一方面,作为美术专业院校出身的画家,引进西法应不是难事,但由于传统文脉几近断绝,这种嫁接易流于图像操作,于中国画所崇尚的“气韵”往往隔膜,又心有不甘;当然亦有同仁直入观念水墨,但窃以为除了笔墨纸工具尚在,应与中国 Under the new context, the classical literati are already extinct, the calligraphy universal era gone, the millennium ink and brush style has a lot of barriers, and the new era of innovation is “the anxiety of influence” (Harold Brewer On the other hand, as a painter from a fine arts college, the introduction of the Western Law should not be difficult, but due to the traditional context of the near cut off, this easy to graft Flow of image manipulation, advocated in Chinese painting “Qi Yun ” often diaphragm, but also unwilling to heart; of course, some colleagues straight into the concept of ink, but stolen thought that in addition to pen and paper tools are still, and China