“最民族的才是最世界的”这几乎是整个文化界所共识的一句名言。传统文化是我们中华几千年文明的积淀,是我们民族的丰骨,它犹如我们的母语一样重要和深入人心,同时它又滋养着我们整个民族。然而近几十年来传统绘画艺术的发展则不尽如人意,从十年浩劫到八五美术新潮的冲击,影响了几代人对传统绘画,特别是对大写意艺术的继承和深研,尤其是大写意花鸟画这一高难度、高修养的画种,出现了日渐低靡后继乏人的状况。大写意是中国传统审美心性的最高流露,当然也早已成为中国文艺美学中价值判断的最高标准,从青藤、八大到吴昌硕、齐白石,这些艺术巨匠铸造出中国文化史上一个又一个的辉煌。优秀的大 “The most ethnical is the most world ” This is almost a consensus of the cultural world a famous saying. Traditional culture is the accumulation of the Chinese civilization for thousands of years, the bones of our nation, it is as important as our mother tongue and enjoys popular support, and at the same time it nourishes our entire nation. However, the development of traditional painting art has been unsatisfactory in recent decades. The impact from the 10-year catastrophe to the trendy art movement in 1985 has affected generations of people to inherit and deepen the study of traditional painting, especially the large freehand art. In particular, It is a difficult and highly cultivated painting of a bird’s eye view of flowers and plants, and there has been a decline in the status quo. In fact, it has also become the highest standard of value judgments in Chinese literary aesthetics. From the ivy, the eighth largest to Wu Changshuo and Qi Baishi, these masters of art cast one after another brilliant achievements in the history of Chinese culture. Excellent big