德国艺术史家雷德侯(Lothar Ledderose)在他影响广泛的著作《万物》中如是作结:“对于中国的文人画家而言,模件体系与个人特性,竟是一枚硬币的正反两面。这枚硬币的名字便是创造力。”在该书中,雷德侯追本溯源,梳理了中国各门类艺术家如何利用有限的常备构件来创造变化无穷单元的现象。他将这些构件名之为“模件”(module)。处于中国传统艺术体系中高位阶的绘画,在构图、母题和笔法诸方面也无一例外地贯穿了模件化思维。雷德侯的这一结论,如放在传统中国画遭到贬抑的时代,无疑会给那些激进的反传统主义者多一个攻击的口实。但在传统文化价值受到正视以及艺 Lothar Ledderose, a German art historian, works in his extensive book The Thing: “For Chinese literati painters, the modular system and personal characteristics are actually the front and back of a coin The name of the coin is creativity. ”In the book, Redhead pursues a source that sorts out how various types of Chinese artists can use finite standing components to create infinitely variable units. He names these widgets “modules.” In the high-order paintings in the traditional Chinese art system, they all penetrate the modular thinking in composition, motif and writing. Rehtohou’s conclusion, as it stands in the era of traditional Chinese painting being belittled, will undoubtedly give one more attack to the radical anti-traditionalists. However, in the face of traditional cultural values, as well as art