寻求中国山水画语言与当下文化的交合点一直是我长期在创作实践过程中思考的主要问题之一。中国画已发展数千年,在题材和表现形式上已相当丰富,特别是在“八五”新潮以后,题材、内容的拓宽已发展到瓶颈阶段。而要使中国山水画发展具有时代意义,首先需要在语言形式和表现形式上有所突破,然而传统水墨保存下来的表现手法往往只能画一些距离现实生活很遥远的内容,不管是山水画或人物花鸟都有这一现象,打破这一局 It is always one of the main problems that I think about in the process of writing practice that seeking the intersection of Chinese landscape painting language and present culture. Chinese painting has been developed for thousands of years and has become quite rich in themes and forms of expression. Especially after the trend toward the “1985” theme, the widening of subject matter and content has reached the stage of bottleneck. However, to make the development of Chinese landscape painting have the significance of the times, we must first make breakthroughs in the forms of language and expressions. However, traditional ink-and-wash techniques often can only draw some very distant from the real life, no matter the landscape or the figures Have this phenomenon, to break this Council