中國(guó)畫之“傷、殤”辯
Resolution Chinese painting is "injured? Ordead"
“傷”者，受損、受害也?！皻憽闭咚劳鲆病Ｒ喾Q“殤折”、“殤夭”。
"Shang",hurt ah. "Shang" Death ah. Also known as "Shang zhe" and"Shang yao".
當(dāng)前，無論是中國(guó)畫展覽，藝術(shù)市場(chǎng)上，還是書畫課堂等等，能夠見到的中國(guó)畫，基本是沒有題畫詩(shī)的“白板”。當(dāng)下不少畫家以西方繪畫作為中國(guó)畫創(chuàng)作的參照，以此倡導(dǎo)所謂融合中西繪畫以加強(qiáng)“視覺沖擊”和寫實(shí)效果。其結(jié)果造成了中國(guó)畫的發(fā)展不但失去了中國(guó)文化的民族性，也一度出現(xiàn)了極其蕭條的現(xiàn)象，在這種外來文化意識(shí)決定下會(huì)將中國(guó)畫引入末路；因此，我們不能舍本求末，尤其是當(dāng)前中國(guó)處在國(guó)際文化交流日益頻繁和實(shí)現(xiàn)中華民族之偉大復(fù)興的情況下，更應(yīng)該加強(qiáng)民族文化觀念，“詩(shī)情畫意”應(yīng)該是中國(guó)畫藝術(shù)發(fā)展的大趨勢(shì)。
At present, whetherit is the Chinese painting exhibition, the art market, or painting class, etc.,to see the Chinese painting, basically no Poems Inscribed paintings on; poem inpainting whiteboard". At present, many artists use western painting as areference to the creation of Chinese painting, in order to advocate theintegration of Chinese and Western painting to enhance the "visualimpact" and realism. As a result, the development of China painting notonly lost The nationality of Chinese culture, also once appeared the phenomenonof extreme depression, in which the decision of foreign cultural awarenessunder the will China painting into end; therefore, we cannot Concentrate ontrifles and neglect Essentials, especially the China in international culturalexchanges become more frequent and the realization of The great rejuvenation ofthe Chinese nation, should strengthen the concept of national culture,"poetic Chinese painting" should be the trend of the development ofthe art of painting China.
被“油畫化”的中國(guó)畫舉例
An example of "oil painting" Chinese painting
為何如此“景象”？究其原因：至從清朝后期以來政治上的無能、國(guó)力匱乏、經(jīng)濟(jì)、科技、軍事的落后等等因素，導(dǎo)致“八國(guó)聯(lián)軍”用洋槍洋炮“轟”開我國(guó)的國(guó)門，不僅僅是使“天朝龍顏”俱失，就連國(guó)民的信仰也隨之崩潰；于是，崇洋媚外之心，因?yàn)閲?guó)境突變而突顯。以致“革新派”否定一切，打倒一切；
Why so"Scene"? The reason: since the late Qing Dynasty from the politicalto incompetence, lack of power, economy, science and technology, military andso on backward factors, resulting in "the Eight-Power Allied Forces,aggressive troops sent by Britain, the United States, Germany, France, tsarist,Russia, Japan, Italy and Austria in to suppress the anti-imperialist Yihetuan1900. Movement of the Chinese people" Advanced weapon"Detonation" in our country, not only is the "Imperial courtMajesty" all lose, even the national faith collapsed; so, Be crazy aboutforeign things and obsequious to foreigners Country Situation mutation because theideas pop and highlights. So that "reformist" deny everything,everything;
如康有為：“今宜取歐畫寫形之精，以補(bǔ)吾畫之短?！标惇?dú)秀：“改良中國(guó)畫斷不能不采取洋畫寫實(shí)的精神。”徐悲鴻：“中國(guó)畫八百年來習(xí)慣，尤重生紙，顧生紙最難盡色，此為畫術(shù)進(jìn)步之大障礙?！?徐悲鴻的“將西方造型藝術(shù)融于中國(guó)畫，放棄'白描’改為素描，追求'光影效果’使得中國(guó)繪畫語(yǔ)言得以豐富、更形象（按照齊白石的觀點(diǎn)：媚俗也、匠氣也。并且，技法是外顯的、相對(duì)于文化內(nèi)涵是單一，容易掌握。）；但卻忽略了中國(guó)畫的文化內(nèi)涵、人文底蘊(yùn)；繪畫技法相對(duì)于文化內(nèi)涵是單一，容易掌握；而中國(guó)畫的豐富文化底蘊(yùn)，不是表面上的“光鮮靚麗”所能夠代表（代替）的，也是不容易被掌握。
Such as KangYouwei: "now you can use western painting beautiful method to remedy theshortcomings of Chinese painting." Chen Duxiu: To improve Chinese painting,we take the of realism in Western painting spirit must." Xu Beihong:Chinese painting for eight hundred years, Especially love use absorbent"paper", see "absorbent Xuan paper" the difficult to showcolor, which is a major obstacle to the progress of painting in." XuBeihong's "western art into Chinese painting, abandon the" line"to pursue" shadows "sketch, makes China painting languageenriched and more image (in the opinion of Qi Baishi: Very secular, Carpentergas. Moreover, the technique is explicit, relative to the cultural connotationis simple, easy to master But it ignores the China painting; culturalconnotation and cultural heritage; painting techniques relative to the culturalconnotation is simple, easy to master; and The rich cultural background ofChinese painting, not on the surface of the "Bright and beautiful" torepresent (instead), it is not easy to master.
要知道跟在別人后面是沒有出路的。（自從1839年8月19日法國(guó)畫家達(dá)蓋爾公布了他發(fā)明的“達(dá)蓋爾銀版攝影術(shù)”，于是世界上誕生了第一臺(tái)可攜式木箱照相機(jī)。西方藝術(shù)家們開始思考“能否將寫實(shí)風(fēng)格進(jìn)行到底”了。于是，在“巴比松畫派”后，西方的“印象主義、野獸派、抽象藝術(shù)、超現(xiàn)實(shí)主義……”成為了西方繪畫的“主流”或發(fā)展方向；藝術(shù)家波洛克、莫奈、梵高、畢加索的作品并非“寫實(shí)主義”他的作品卻倍受人們喜愛：莫奈、馬奈作品的“筆觸未經(jīng)修飾而顯見，構(gòu)圖寬廣無邊，尤其著重于光影的改變、對(duì)時(shí)間的印象……”）
To know thatthere is no way out behind others. (since August 19, 1839 the French painterDaguerre announced his invention of the "Silver Edition Daguerrephotography", then the birth of the world's first portable wooden boxcamera. Western artists began to think about whether the realistic style in theend. So, in the "Barbizon school", "western impressionism,Fauvism, abstract art, surrealism......" Paintings of the West has becomea "mainstream" or development; artist Pollock, Monet, Van Gogh,Picasso's work is not "realism" of his works are very popular: Monet,Manet's works "without modification and obvious brush strokes, thecomposition of boundless, especially in light of the changing time theimpression...")...
從藝術(shù)層面上看，“五四”時(shí)期的“美術(shù)革命”把中國(guó)繪畫的衰落歸于文人畫的逸氣和寫意，從而倡導(dǎo)寫實(shí)精神來代替文人畫傳統(tǒng)，無疑是相當(dāng)淺薄的。因?yàn)槲娜水嬎非蟮囊輾馐且粋€(gè)更純粹性的人文內(nèi)涵，文人畫的筆墨與心靈直接對(duì)應(yīng)，也是藝術(shù)超越對(duì)物象的依賴達(dá)到很高層次的標(biāo)志，而且也是士大夫的逸氣這種形而上的內(nèi)涵，才使中國(guó)文人畫走到筆墨與心靈的直接對(duì)應(yīng)的層面。尤其值得注意的是，當(dāng)“五四”時(shí)期的思想家引進(jìn)西方的寫實(shí)主義的時(shí)候，歐洲傳統(tǒng)寫實(shí)主義正經(jīng)歷著轉(zhuǎn)換，這種轉(zhuǎn)換恰恰也是追求更純粹性的人文內(nèi)涵，以及畫面擺脫敘事、描繪物象而進(jìn)入心靈與色彩、筆觸等直接對(duì)應(yīng)的層次。
From theartistic perspective, the "54" period of "Art Revolution"to China painting decline backward to the high-mindedness of literati paintingand freehand brushwork, which advocates the spirit of realism to replace thetraditional literati painting, is quite shallow. Because the literati paintingpursuit of high-mindedness is a more pure humanistic connotation of literatipainting, Traces of Chinese brush and Thought soul directly corresponding tothe object of art is beyond the mark to rely on a very high level, but also theliterati and officialdom (in feudal China) high-mindedness Advanced ideas inThe surface of the connotation the object., the China literati painting came toTraces brush and Thought Chinese of corresponding soul level. In particular,when the "54" period of the introduction of western thinkers realism,traditional European realism is undergoing transformation, this transformationis precisely the pursuit of pure humanistic connotation, and the Get rid ofnarrative, the picture depicting images into Thought soul, brush stroke in andcolor painting and correspond directly to Traditional culture the height ofcalligraphy.
事實(shí)上，自陳獨(dú)秀提出“革王畫的命”始，就有人意識(shí)到以上問題。如陳師曾認(rèn)為：“文人畫不求形似正是畫之進(jìn)步?！薄耙砸蝗俗鳟嫸?，經(jīng)過形似階段，必現(xiàn)不形似之手腕，其不形似者，忘乎筌、蹄，游于天倪之謂也。西洋畫可謂形似極矣，自19世紀(jì)以來，以科學(xué)之理研究光與色，其與物象體驗(yàn)入微；而近來之后印象派，乃反其道而行之，不重客體，專任主觀。立體派、未來派、表現(xiàn)派聯(lián)翩演出，其思想之轉(zhuǎn)變也足見形似之不足盡。”
In fact, sinceChen Duxiu put forward the "Against Chinese painting method" began,it was realized that the above problems traditional. As Chen Shiceng said:"Chinese Painting Not seeking the shape is the progress of Chinesepainting". Not." "In order to paint a person, after theappearance of the stage, the performance must be from the shape of the method,to the stage of not like, forget the sound of music, horse gallop, tour inNatural division that also. Western painting can be said to be very image,since nineteenth Century, with the scientific truth of light and color, and theimages and the recent experience in; after Impressionism, but act in adiametrically opposite way, not heavy object, subjective time. Cubism,futurism, performance school and other joint performances, the transformationof their thinking is enough to see the shortcomings of the "Pursuitshape"."
作為西畫家的倪貽德也認(rèn)識(shí)到：“方今對(duì)于國(guó)畫之非難者，大約都持有兩種最大的理由，第一，說國(guó)畫不合于科學(xué)的方法，如輪廓之不準(zhǔn)確，光暗之無分別，遠(yuǎn)近之不合透視，色彩又太單純，于是極力想把西洋畫的方法與我們的國(guó)畫結(jié)合起來，以另成一種折衷派；第二，說國(guó)畫所有材料太簡(jiǎn)單了，不足以充分表現(xiàn)物象，于是急急乎把西洋畫中的材料來替換了。但我以為這兩層都不是十分重要的事，因?yàn)槌淦淞恳膊贿^能把物象描繪得十分準(zhǔn)確罷了。但像不像的問題，藝術(shù)上原不能成立。
As the Westernpainter Ni Yide also recognized: "now that China painting is notdifficult, about holding two biggest reasons, first, traditional Chinesepainting is different from scientific methods, such as profile is not accurate,light dark respectively, the distance of the different perspective, color istoo simple, so they want to the method of Western painting combined with ourpainting, to the other as a compromise; second, said China painting all thematerial is too simple, not enough to fully show the images, then hastily putbetween the western painting materials to replace. But I think these two arenot very important, because it is just the object depicted very accurately. Butunlike the problem, the art can not be established.
藝術(shù)上所重要的，卻是由對(duì)象引起的內(nèi)部革命?！薄白钪匾氖撬囆g(shù)態(tài)度的變更?，F(xiàn)在一般國(guó)畫家的態(tài)度，是模仿、追慕、幻想……而與現(xiàn)實(shí)生活離得太遠(yuǎn)”，“所以我們應(yīng)當(dāng)把這種態(tài)度改變一下，從模仿到現(xiàn)實(shí)，從幻想到直感”，“去尋求新的詩(shī)意、新的情調(diào)”，“去表現(xiàn)新的畫境”。黃賓虹亦在《論中國(guó)藝術(shù)之將來》一文中意識(shí)到“泰西繪事，亦由印象而談抽象，因積點(diǎn)而事線條，藝力既臻，漸與東方契合”。
What isimportant in art is the internal revolution caused by the object.""The most important thing is the change of attitude. Now the generalattitude of the Chinese painting, imitation, chasing, fantasy...... But withthe real life too far away, so we should take this attitude change, fromimitation to reality from fantasy to sense "," to seek a new poeticChinese painting, the new old "," to the performance of the newpainting". Huang Binhong is in "on" the future Chinese artarticle aware of "Western painting, also by the impression ofabstractions, and points for things Artistic skill gradually lines, reach,Gradually fit with the East".
郎世寧的繪畫是典型的中西結(jié)合，他的作品康熙看后，把宮廷畫院院長(zhǎng)鄒一桂找來，讓他品評(píng)。鄒一桂看后說：“工則工矣，不入品評(píng)?！币馑际钦f，畫得很像、很細(xì)，但是不值得去品評(píng)，也可理解為不能品評(píng)（郎世寧的作品雖然畫工精致，但是缺失中國(guó)傳統(tǒng)文化，而不能評(píng)為好的中國(guó)畫）。
Lang Shining'spainting is a typical combination of Chinese and western, his works afterKangxi, the palace painting Dean Zou Yigui to come, let him comment. Zou Yiguilooked up and said, "Good painting, No not participate in theevaluation." It is said that the painting is very like, very fine, but notworth going to participate in competitions, can also be understood as not judge(although painters Lang Shining's works fine, but the lack of China traditionalculture, but not as good China painting).
不可否認(rèn)，“西風(fēng)東漸”，對(duì)中國(guó)畫“形質(zhì)色彩”等等的技法，確實(shí)有所豐富；但是，因?yàn)橹袊?guó)畫的外形，而放棄中國(guó)畫的靈魂（“形而上”）——詩(shī)情畫意（中國(guó)傳統(tǒng)文化底蘊(yùn)）就不值了；這是民族的不自信所造成的；這樣的“民族自卑”已經(jīng)伴隨中國(guó)畫一百多年了！已經(jīng)使中國(guó)畫的“元?dú)狻贝髠?，如果不及時(shí)補(bǔ)救，我之國(guó)粹——中國(guó)畫必將淪為西洋畫的“附屬品”而真正的殤夭了……！
Can not bedenied, "the spread of Western influences to the East" on the"Shape color" and so on Chinese painting techniques, has abundant;however, because Chinese painting form, and give up Chinese painting soul("shape Above of Thought poetic Chinese (painting) - China traditionalculture) is not worth; this is not the nation confidence caused by; such"ethnic inferiority "already exists China painting for more than and 100years! Has China painting "vitality" big break, if not timely remedy,The quintessence of Chinese culture - Chinese painting will become westernpainting "accessories" and the real war died......!
此絕非筆者的危言聳聽：2014年9月12日晚上八點(diǎn)多鐘，中央電視臺(tái)《書畫頻道》播出了“慶祝開播八周年”的節(jié)目，節(jié)目邀請(qǐng)了中國(guó)畫院副院長(zhǎng)盧禹舜，中國(guó)美協(xié)秘書長(zhǎng)徐里，中國(guó)美術(shù)館研究員、研究部主任美術(shù)評(píng)論家劉曦林，藝術(shù)批評(píng)家，獨(dú)立策展人。中國(guó)藝術(shù)研究院美術(shù)史博士朱其等談到中國(guó)畫的發(fā)展時(shí)，都認(rèn)為當(dāng)代中國(guó)畫已經(jīng)“歐化”——考美院，中國(guó)畫系也與油畫系的考試科目是一樣的考素描、色彩，而中國(guó)畫的“必備”書法、白描、古詩(shī)詞、古漢語(yǔ)等等全是空白……；現(xiàn)在，讓美院教師（授）教授“題畫詩(shī)”，也是不現(xiàn)實(shí)的……。
This is notalarmist Author: September 12, 2014 at eight o'clock, CCTV "Paintingchannel" broadcast "to celebrate the eight anniversary of the launchof the program, the program has invited China academy vice president Lu Yushun,Chinese association secretary general Xu Li, director of the researchdepartment, Art Museum of China art critic Liu Xilin, art critic andindependent curator. Chinese Art Institute of art history, Dr. Zhu Qi talkedabout the development of Chinese painting, contemporary painting has beenconsidered Chinese "Europeanization": an Department of Chinesepainting and academy, oil painting exams are the same test sketch, color, andChinese painting "must have" discipline of calligraphy, lyrics,poems, ancient Chinese everything is blank...... Now, let the teacher; Academyof fine arts professor writing "Poems", it is not realistic.......
偉大的教育家蔡元培指出：“西畫近建筑（理性的，以描摹客觀物象為重點(diǎn)），中國(guó)畫近文學(xué)（感性的，以借物抒懷、詩(shī)情畫意為本源）?！奔矗何鞣降睦L畫近似建筑一般的理性——寫實(shí)性強(qiáng)；是客觀事物的模仿（描?。?。而中國(guó)畫是近乎文學(xué)作品一般的個(gè)性強(qiáng)烈，宋以來，詩(shī)畫一律的觀點(diǎn)成為主流。蘇東坡稱王維：“詩(shī)中有畫，畫中有詩(shī)”。詩(shī)，不直白，以比興手法抒心志創(chuàng)設(shè)境界，這需要豐厚的文化積淀。畫貴有詩(shī)意，自宋以來成為風(fēng)氣，優(yōu)秀的國(guó)粹我們必須傳承。追求“形而上”的，精神上的東西：藝術(shù)化的客觀事物（超然物外、不受具體物象的束縛），因而達(dá)到“借景抒情、托物言志”的目的——來源于生活，而高于生活（是生活的提煉，是情感的宣泄）。
China great educator Cai Yuanpei pointedout: "western building (near rational, to describe the object as the key),China (literature draws near sensibility, Borrow Shuhuai, poetic Chinesepainting origin)." That is to say, the western painting is similar to thegeneral rationality of architecture, which is the reality; it is the imitationof objective things (Sketch). The Chinese painting is almost a generalliterature strong personality, since the Song Dynasty, the mainstream view ofpoetry and painting are. Su Dongpo Wang Wei said: "Painting-in-poetry,There is poetry in a painting". Poetry is not straightforward, thecreation of metaphor to express spirit realm, which requires rich culturalheritage. Draw your poetic, since the Song Dynasty as a whole, we must inheritthe quintessence of excellence. The pursuit of "metaphysical", thespirit of things: the art of the objective things (not bound, be free fromthings of the world of specific objects, and thus achieve the "take)advantage of a scene to express one's emotion, Material support Ambition"- from life than life (which is a refinement of life, emotional catharsis).
“繪畫到此境則一切夾雜物滌蕩盡矣，宛如劇中之能，無毫末之詐罔，無取悅低級(jí)看客粗笨顯著之美。物象不過假借而已，倪迂之竹，非麻非蘆任人呼之，僅僅假竹以寫胸中之逸氣耳。于是可知離卻自然，即為歸著美術(shù)本質(zhì)之進(jìn)步。”(繪畫到此境界，已經(jīng)消除了“功利、是非”等等的一切雜念啊！就像是故事劇中的教育功能，沒有一點(diǎn)點(diǎn)的欺騙，不用討低級(jí)看客的喜歡而故意做作的漂亮。世間萬事萬物的物象，不過是假借它的形體而已；倪瓚畫竹，不是麻草，也不是蘆葦，可以任人呼之欲出的；倪瓚僅僅是借畫竹來抒發(fā)自己對(duì)世間美好生活的向往，或表現(xiàn)出虛心向上、剛正不阿的情懷呀！于是我們可以看到：“中國(guó)畫”的表現(xiàn)，不是“照搬、描摹”自然界萬事萬物的具體形狀，而是在抒發(fā)自身的情懷；這樣才是回歸到美術(shù)本質(zhì)的進(jìn)步。)
This painting realm, has eliminated the "non utilitarian, is everything" and so on! As the educational function of the story, not a little bit of cheating, no love for low-level and deliberately contrived beautiful spectators. Everything in the world of images, but it is under the guise of form only; Nizan draw bamboo, hemp grass is not, nor can anyone out of reed, just borrow; Nizan draw bamboo in the world to express their longing for a better life, or showing modest upward, upright and outspoken feelings! So we can see: "China painting" performance, the specific shape is not "copy, imitation" everything in nature, but express their own feelings; this is the return to the essence of art progress.
站在世界藝術(shù)之林里，中西方繪畫并無高低之分，都是文化的產(chǎn)物；都是人類對(duì)大自然、人類社會(huì)的思索、表現(xiàn)、思考（探求）的方式而已；只是所表現(xiàn)方式的不同：如果把西方繪畫比喻為“白雪”，把中國(guó)畫比喻為“梅花”的話，那么宋代詩(shī)人陸梅坡的詩(shī)句便解答了二者間的關(guān)系：“梅須遜雪三分白，雪卻輸梅一段香”。（詩(shī)的后兩句巧妙地托出二者的長(zhǎng)處與不足：梅不如雪白，雪沒有梅香，回答了“騷人閣筆費(fèi)評(píng)章”的原因，也道出了雪、梅各執(zhí)一端的根據(jù)。讀完全詩(shī)，我們似乎可以看出作者寫這首詩(shī)是意在言外的：借雪梅的爭(zhēng)春，告誡我們?nèi)烁饔兴L(zhǎng)，也各有所短，要有自知之明。取人之長(zhǎng)，補(bǔ)己之短，才是正理。這首詩(shī)既有情趣，也有理趣，值得詠思。）
Stand in theforest of world art, Chinese painting and Western painting are equal, is theproduct of culture; is of human nature, human society, thinking, thinking (seekways) only showed different ways:If the westernpainting metaphor for the"Snow", the China painting metaphor for the"plum", the SongDynasty poet Lu Meipo verses will answer therelation among the two: "Plumblossom is not comparable to the white snow,but the snow has lost a plumfragrance". (after the two poems skillfullyout two strengths and weaknesses:Mei as snow white, snow is not about"Comments on the, said excellentarticles by the cultural people",also out of the snow, according to oneplum. Read the poem, we can see theauthor to write this poem is: borrow Whitesnow and The meaning is implied.plum blossom, warned us also to have each onehas his good points, each man hashis limitations, Know one's limitations.Overcome one's shortcoming by learningfrom other's strong points, is right.This poem Both fun, but reasonableinterest, Worth thinking.) also
各個(gè)畫種都有自己的特點(diǎn)，而代表中國(guó)民族文化的中國(guó)畫是具有“詩(shī)、書、畫”等中國(guó)民族文化特征，這是中國(guó)畫的根本；其最高境界就是“詩(shī)情畫意”。
Each nation'spainting has its own characteristics, on behalf of the national culture ChinaChina painting is a "poetry, calligraphy, painting Chinese" Chinacultural characteristics, which is the fundamental Chinese painting; itshighest is "poetic Chinese painting".
詩(shī)書畫印的完美結(jié)合，己成為民族血脈，這需要向真正有民族責(zé)任感和民族文化危機(jī)感的人談?wù)摚L畫得力于文化的內(nèi)涵，他的藝術(shù)魅力就被大大的擴(kuò)充了。遠(yuǎn)不是昔日師徒相傳的工筆重彩所能比擬。單純地把中國(guó)畫當(dāng)成一種技術(shù)來評(píng)價(jià)，從而使中國(guó)畫喪失了它的豐厚的文化底蘊(yùn)。中國(guó)畫核心價(jià)值是文化價(jià)值的最終體現(xiàn)。繪畫是文化的載體，文化升華了繪畫的表現(xiàn)。審美屬性使傳統(tǒng)中國(guó)畫的創(chuàng)作和鑒藏，都是基于超乎功利的精神領(lǐng)域的，同時(shí)，這種超乎功利的創(chuàng)作和鑒藏方式也在不斷地純化著中國(guó)畫的獨(dú)特文化價(jià)值。中國(guó)畫是文化人的事情，不是任何會(huì)畫畫的中國(guó)人都能成為中國(guó)畫畫家的。
Theperfectcombination of poetry, calligraphy, painting, seal and so on Chineseart, hasbecome a national blood, this need to have real sense of responsibilityfor thenation and the national culture sense of crisis, people talk about,thanks tothe cultural connotation of painting, his charm was greatly expanded.Not farfrom the former apprenticeship claboratestyle can match. Chinesepainting as atechnology to evaluate, so that Chinese painting lost its richculturalheritage. The core value of Chinese painting is the ultimate embodimentofcultural value. Painting is the carrier of culture, culture sublimation oftheperformance of painting. The aesthetic attribute enables the creationandidentification of traditional painting China reservoir are based on beyondtheutilitarian spirit field, at the same time, the more utilitarian creationandappreciation in a way also purified painting unique cultural valueChineseconstantly. Chinese painting is a cultural thing, not all the Chinesepeoplecan draw Chinese painting artists.
中國(guó)畫的發(fā)展必須依照“中國(guó)方式”——集中國(guó)傳統(tǒng)文化底蘊(yùn)（詩(shī)、書、畫）為一體的觀點(diǎn)——“詩(shī)情畫意”是中國(guó)畫的靈魂和中國(guó)畫發(fā)展方向……；詩(shī)情畫意也是世界美術(shù)的發(fā)展方向。（顧紹驊的藝術(shù)思想）
The developmentof Chinesepainting must be in accordance with the "China" - inChinatraditional culture (poetry, calligraphy, painting Chinese) as one ofthe"poetic Chinese painting" - is China painting soul and Chinapaintingdevelopment direction...... Poetic Chinese painting is also thedevelopmentdirection of world art.（Gu Shaohua's artistic thought）
如今，復(fù)興我國(guó)傳統(tǒng)文化、匡復(fù)中國(guó)畫，提高我國(guó)文化軟實(shí)力，正是我們?nèi)f眾一心的同一個(gè)中國(guó)夢(mèng)；我們責(zé)無旁貸，從我做起，從現(xiàn)在做起！相信中華民族崛起、強(qiáng)盛，就在“明天”?。?！
Today, therevival of Chinese traditional culture, Kuangfu China painting, to improveChina's cultural soft power, it is the same Chinese we dream we are duty bound,million people united as one man; begin from me, start from now on! Believethat the rise of the Chinese nation, strong, in the "tomorrow"!!!
（歡迎批評(píng)、指導(dǎo)、交流?。?/div>
