少习书画,读《芥子园画传》中“画学浅说”的兴趣不亚于描摹书中的各家图式与图谱,尔时虽无深解,但记忆中,前人论画的叙述方式却印象深刻。后治艺术史学,将各类史迹考察与著述文献相互印证,而于绘画一门,连缀千年的嬗变,开始对南宋史家邓椿的“画者,文之极”之论略有所悟。近十年来,调研海内、外博物馆藏品,各时期名画、巨迹过眼无数,深深感动于历代创作者们的朴素与沉潜。揣摸彼时文明积淀的轨迹,终于知晓了何为“图画”、何为“艺术”。物以“知”为贵。绘画博大精深,水墨于其中卓然独立,深 Lessing in calligraphy and painting, reading “Mustard Garden Biography” in the “Painting Theory” is no less than the description of the various drawings and maps, although no deep solution, but in memory, the predecessors of painting Narrative way is impressed. After the rule of art historiography, various types of historical relics and writings verify each other, but in a painting, the evolution of the millennium, began to Southern Song Dynasty historian Deng Chun’s . Over the past decade, surveying the collections of museums both at home and abroad, famous paintings in all periods, and numerous extremists have deeply moved the simplicity and immersion of creators of all ages. Hides the track of civilization accumulation, finally know what is “picture ”, what is “art ”. To “know” as expensive. Painting profound, ink in which Zoran independent, deep