水彩画传入中国百余年来,风景画占据了半壁江山,这与水彩画多被用于采风记录、基本色彩训练有着莫大的关系。由此一来,水彩风景画所呈现的面貌也往往以地域风情或者形式把玩类型居多。这样结果常常予人造成水彩在风景画上小情小调的绘画形象,而事实上,当代水彩在风景领域的探索远远超出了如此范畴,其新的向度早已移情换景,植入当代人内心对所处境地的深深领悟。 Over the past hundred years since the introduction of watercolor into China, landscapes occupy half of the country, which is closely related to the fact that watercolors are mostly used for collecting records and basic color training. As a result, the landscape presented by watercolor landscapes tend to play in the majority of regional style or form. Such a result often leads to the creation of a watercolor image in a minor but minor way. In fact, the exploration of contemporary watercolor in the field of landscape goes far beyond such a category. Its new dimension has long been empathetic and implanted into the contemporary Deep inner comprehension of the situation.