中国画讲究传统,没有传统就不是中国画。我曾向我的师长亦步亦趋地学习勾、皴、染、点,面对历代大师的作品,冥思苦想,感悟、借鉴,以丰富中国画艺术语言的表现力。 自中国古代艺术批评的开始,对画的作用与表现力就提出过不同的认识。东晋的顾恺之,以其朴素的唯物主义美学观点,提出“以形写神”、“空其实对乃大失”的 Traditional Chinese painting, tradition is not Chinese painting. I have studied with my teachers in the process of getting rid of the hooks, scratches, dyed and dots. In the face of the masterpieces of the past dynasties, I tried my best to comprehend and learn from them so as to enrich the expressive power of the artistic language of Chinese painting. Since the beginning of the criticism of ancient Chinese art, different views have been put forward on the role and expressive power of painting. Gu Kai of the Eastern Jin Dynasty, with its simple materialist aesthetic point of view, put forward “to describe God”, “empty actually is a big loss”.