中国画的“逸笔草草”只有在一个灵动深邃的襟怀中才能焕发其生动气韵、否则便只是几根线条、几个墨块。探究古人审美体验的幽邃情怀,画论、画评为我们提供了最为直接的文本。本期刊发的张耕云《沉潜体味意象表达——论中国古典画论批评的基本方式》一文强调,这种艺术批评方式的根本要旨在于维护审美体验的完整性。在今天美术批评越来越技术化、理论化、模式化的趋势中,我们对艺术的认知也越来越实用化、理性化、概念化,淡忘了艺术培育人们“感性完美”的独特价值,从而阻碍了艺术通达人心的道路。如果这种与中国画相依为命的“体验”批评因为“不系统”、“太感性”而遭到否定的话,古典的审美体验便无法转换为语言文字而加以传承和播散。失却了这种体验的中国画创作无论在笔墨表达上如何酷似古人.都只是复制了一个古典文化的标本,根本谈不上传统文化的复兴,相反还扼杀了艺术的一个魅力之源。为此,我们不得不再次点击中国古典美术批评这个话题。 Chinese painting “Yi pen grass” only in a clever deep mind to its vivid charm, or just just a few lines, a few ink blocks. Exploration of the ancients aesthetic experience of the deep feelings, painting theory, painting evaluation provides us with the most direct text. In this issue of Zhang Gengyun, “Subliminal Image Expression - The Basic Way to Criticize Chinese Classical Painting” emphasizes that the essential purpose of this kind of artistic criticism is to maintain the integrity of aesthetic experience. In today’s art criticism more and more technical, theoretical, pattern of the trend, we are more and more practical knowledge of art, rationalization, conceptualization, forget the art of cultivating people’s “perceptual perfect” unique value, Thus hindering the path of artistic accessibility. If this criticism of “experience”, which is dependent on Chinese painting, is rejected because it is “not systematic” or “too emotional,” the classical aesthetic experience can not be translated and disseminated as language. The loss of this experience of Chinese painting no matter how the expression of the pen and ink resembles the ancients just copy a specimen of classical culture, simply can not talk about the revival of traditional culture, on the contrary, it also stifles the art of a source of charm. For this reason, we have to click again on the topic of criticism of classical Chinese art.