当下中国画坛呈现出明显的多元化倾向。延续传统者有之,求变创新者有之,不古不今者亦有之,大有“红杏枝头春意闹”的热烈氛围。可惜,延续传统者,多拾古人牙慧,古人的笔墨性灵却难以企及;求变创新者,多在画面图式与观念上下猛药,中国画的精神内涵却消亡殆尽;不古不今者更让人堪忧,诸如一些“新工笔”、“新水墨”之类,他们往往以中式工具制作西式符号,将笔、墨、纸、砚的东方效果与西方的造型、透视、色彩乃至写实主义、超现实主义等元素混搭,整合出来了一个“大拼盘”。可悲的是,这个大拼盘不伦不类,既葬送了我们民族的本位文化,也没得到西方话语权的认可,陷入了一种进退两难的境地而不自 The current Chinese painting has shown a clear trend of pluralism. Continuation of the traditional ones, there are innovators, not those who do not have the same, there is a great “happy apricot spring ” warm atmosphere. Unfortunately, the continuation of traditional, more pick up the wisdom of the ancients, the ancients of the pen and ink spirit is difficult to match; change innovators, and more in the picture schema and concepts up and down, the spirit of the Chinese painting has vanished; They are even more worrisome, such as some new works of art, new ink, and the like. They often produce Western symbols with Chinese tools and combine oriental effects of pen, ink, paper and ink with western styling, perspective, Color and even realism, surrealism and other elements of mashup, integrated out of a “big platter ”. Sadly, this big platter is neither fish nor fowl, it has both ruined the culture of our nation and has not been endorsed by the Western discourse, and has plunged into a dilemma rather than