20世纪40年代,黄宾虹先生在写给其学生朱砚因的一封信中说:“欧风东渐,心理契合,当无中西之分,其精神同也。”他从中西文化交流日益深入的现实中,为中西绘画在观照和表现审美客体时心物交融有“殊途同归”的趋向而感到欣慰。的确,从19世纪起,以个人主义为立身之本的西方社会,艺术家通过日本绘画而对中国艺术的关注,使他们中的一部分人不再恪守以再现客观世界的真实为目 In the 1940s, Mr. Huang Binhong wrote in his letter to his student Zhu Yan-yin: “There is no convergence of Western and Eastern elements in the European style and its spirit is equal.” He gradually deepened his cultural exchanges with China and the West The reality of Chinese and Western painting is gratifying when it comes to contemplating and expressing the aesthetic object with the tendency to blend in with each other. Indeed, since the 19th century, western artists who took individualism as the foundation for their own efforts paid attention to Chinese art through Japanese paintings, so that some of them no longer abide by the true objective of reproducing the objective world