中国画犹如一株几千年的老树。已经数不清它有多少年轮。 但它又是那样年轻。直到西洋画大量传入中国,它才被相对地称作“国画”或者“中国画”。从另外一个角度来看,“中国画”三个字已经意味着它被看作中华民族文化的一个象征、一个品牌而被崇爱着。正像任何一种事物具有两面性那样,在中国近现代化的过程中,它又被视作“保守”的旧文化的代名词,受到各种各样的改革、革命浪潮的冲击和责难。在20世纪短短的一百年中,不断地有人批评它“衰败至极”,“穷途末路”,甚至被宣判为“废纸”。又因此激起对它加倍的呵护,以致于引起数度的论争。实际上这每一次论争又仿佛是一场电闪雷鸣,非但没有将这老树摧垮,反而激活了它新的生命。 Chinese painting is like a tree for thousands of years. How many annual rings have been counted But it is so young again. It was not until the western painting was introduced to China in large quantities that it was relatively called “Chinese painting” or “Chinese painting.” From another perspective, the three words “Chinese painting” already mean that it is regarded as a symbol of Chinese culture, a brand is being loved. Just as any kind of thing has two sides, in the course of the modernization of China, it is also regarded as synonymous with “conservative” old culture and under the influence and censure of various reforms and revolutions. In the short span of a century in the 20th century, some people kept criticizing it as “extremely decayed”, “dead end” and even as “waste paper.” As a result, doubling its care has been aroused, resulting in several controversies. In fact, every argument is like a lightning thunder, not only failed to destroy the tree, but to activate its new life.