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中国画发展到了今天,从属于国画意境表现的诸多技法达到了多元化。但从另一个角度来审视,又有技巧用尽之嫌。法由心造,师造化等传统美学理论,最终解决不了国画的创新问题。独辟蹊径者,又往往着眼于中国画与西洋画的表现技巧等问题上,在其间辗转徘徊。近代以及现代的国画家们辛勤探索了多年,一类可归结为强调传统基础上的创新。但由于传统绘画自身的严谨,丰厚和独具的魅力,“创新”之举往往显得苍白无力。一类是运用了西画的观察和造型方法,操持着中国画的材料工具来改造中国画,这样虽然
Chinese painting has developed to this day, and many techniques subordinated to the artistic expression of Chinese painting have reached diversification. But from another perspective, there are tips to exhaustion. Law by the heart, teachers and other traditional aesthetic theory, and ultimately can not solve the problem of innovation of traditional Chinese painting. Those who are inventive and creative often focus on issues such as the skills of Chinese painting and Western painting, and they are constantly wandering around. Modern and modern Chinese painters have been exploring for many years a series of innovations that can be attributed to their emphasis on tradition. However, due to the rigorous, rich and unique charm of traditional painting, “innovation” often appears pale and weak. One is the use of Western painting observation and modeling methods, holding Chinese painting materials tools to transform Chinese painting, so although