中国画的前景,“忧之憧憬,喜之迷惘”,是一个时期以来美术发展的主要特点。关注当今中国画归宿问题的学人可以从沸沸扬扬的主张中找到自己的答案。而眼下,以“家园意识”与“新事物”为中心的画坛好像沉静下来,少了喧嚣,时髦的主张似乎已失去了往日对人们的诱惑。在高涨的潮水落去之后,人们又从颠狂的精神中解脱出来,不再有激情,不再迷惘,从并不成熟的宣泄中转入沉湎的思考,互不相干,似乎在等待时间上的证 The foreground of Chinese painting, “the worries of admiration, the joys of hi”, is a major feature of the development of art since a long time ago. Scholars concerned with the problem of the Chinese paintings at their fingertips can find their own answers from the uproar. At the moment, the art scene centering around “homeland awareness” and “new things” seems to have calmed down and less hustle and bustle, and the fashionable proposition seems to have lost the lure of people in the past. After the high tide has lapsed, people are freed from the spirit of perverseness. They no longer have the passion, are no longer confused, and are immersed in immeasurable thinking from the unripe catharsis. They seem to be waiting for time Evidence