一范扬的画,具有极为深厚的传统功力,极讲究笔墨功夫,但我们却又看不出他的画儿出于具体的哪家哪派,呈现出人于古而出新的特征。实际上,这是他在“抽象继承”的层面,对传统基础原则和基本精神高屋建瓴式的综合性把握,是从“无语言”角度把握传统使然。在范扬的画中,笔墨不仅仅是为造型服务的,无论是他的山水还是人物,笔墨传递出的审美意蕴,犹如中国书法由笔法依据汉字结构构成的形符,能够传达出某种具有特指的精神气息。看范扬的画,有如看颜真卿的书法,能使人感到坐如钟、立如松、静如处子、动如龙,进入美学家谷鲁斯所说的“内模仿”状态。只是,颜真卿是位儒家气息极强的人,而在范扬的画中,则多了些魏晋玄学的睿 A Fan Yang’s painting has a very profound traditional skill and a great deal of emphasis on ink, but we can not see that his paintings are out of the ancient and new features out of the specific schools. In fact, this is his comprehensive grasp of the traditional basic principles and the basic principle of building a splendid society at the level of “abstract inheritance”. He is grasping the traditional ambiguity from the perspective of “no language ”. In Fan Yang’s paintings, the pen and ink are not only for the service of modeling, no matter whether they are his landscapes or figures, the aesthetic implication conveyed by the pen and ink is like the Chinese character formed by the stroke according to the structure of Chinese characters, Special spirit. Look at Fan Yang’s paintings, as seen in Yan Zhenqing’s calligraphy, can make people feel like sitting bell, standing as pine, static as a child, moving like a dragon, into the esthetician Gu Lou said “imitation ” state. However, Yan Zhenqing is a very Confucian atmosphere of people, and in Fan Yang’s paintings, there is more Wei and Jin Metaphysical Rui