在中国绘画史上,南北方风格差异一直受到广泛的重视。董其昌《画禅室随笔》卷二云:“禅家有南北二宗,唐时始分。画之南北二宗,亦唐时分也。但其人非南北耳。”以南宗为文人画,而北宗是行家画,崇南贬北,固有偏颇;但是不可否认的是,南北方的绘画风格确实存在明显的差异,各有千秋。北方多用全景式构图表现,厚重苍茫;南方则擅画平远之景,尚文人雅趣。那么,如果一位画家有着“由北到南,由南到北”的艺术经历时,他的艺术又会呈现出怎么的魅力呢?本期“对画、对话”栏目我们邀请了杜滋龄和刘健两位老师,他们都曾经在浙江美术学院(现中国美术学院)学习中国画,后来又先后到北方工作,请听二位畅谈“笔墨当随性情”。 In the history of Chinese painting, the differences in style between the north and the south have always been widely valued. Dong Qichang “painting Zen essay” Volume II cloud: “Zen family has two north and south, Tang points before the painting of the two north and south, also Tang time points also.But its non-North and South ears.” Painting, while the Northern Zong is an expert painting, Chongnan North demoted, inherent bias; but it is undeniable that there is a clear difference between North and South painting style, each has its advantages. Panorama of the North with more panoramic composition, thick vast; the southern are good at painting Pingyuan King, still literary elegance. So, if an artist has an artistic experience of “from north to south and from south to north,” how attractive is his art? This issue of “Drawing and Dialogue” Du Zaolin and Liu Jian two teachers, who have all been in the Zhejiang Academy of Fine Arts (now China Academy of Art) to learn Chinese painting, and later went to work in the north, please listen to two talk “pen and ink when the nature with.”