“写诗必此诗,定知非诗人”(苏东坡语),道出了文学的创造与想象不应受文辞的束缚,绘画其实也一样。事实上,当代山水画创作在诸多情境下往往表现出画家运用形式语言的概念化与公式化。更值得注意的是,在如今面向生活强调写生的同时,画家却忽视绘画的独创精神和想象,导致有的作品过于写真和缜密,与传统中国画表现中注重精神表现、自由写意、抒发情思等特点相距甚远。当下,探索中国画的创新已经成为众多国画家的普遍诉求,对于山水画的创新而言,在形式语言上寻找突破,则是当代山水画家思考的重中之重。传统山水画的主要特点,往往体现于其构成图式的丰富性 “Poetry must be poetry, Dingzhi non-poet ” (Su Dongpo), tells the creation and imagination of literature should not be subject to the constraints of the language, the painting is in fact the same. In fact, contemporary landscape painting often shows the conceptualization and formulation of the formalist language in many situations. What is more noteworthy is that while painstaking emphasis on sketching in life today, painters neglect the original spirit and imagination of the painting, which leads to the fact that some works are too photorealistic and meticulous. Compared with traditional Chinese painting, they emphasize spiritual expression, freehand brushwork, and emotional expression far cry. At present, to explore the innovation of Chinese painting has become the universal appeal of many Chinese painters. For the innovation of landscape painting, finding a breakthrough in formal language is the most important consideration of contemporary landscape painters. The main features of traditional landscape painting, often reflected in the richness of its composition schema