不知是个性使然还是有感于时下水墨画的过分泛滥与雷同,抑或是有感于水墨人物画在传统与现代的契合与转换中面临着太多难以逾越的障碍,总之,在搞了十多年水墨人物画以后,90年代初,兴趣则移情于一向不被自己在意的工笔画中,未曾料到,一经涉足其间就一发不可收拾,时至今日热情未减。众所周知,工笔画艺术曾以它特有的富丽华贵,清秀闲雅而呈采于中国画坛,唐宋时期发展至鼎盛。宋元以降,在源于禅道“大音稀声,大象无形,五色令人盲”的古典美学思想引导下,水墨文人画全面兴起,并成为中国绘画的主流。而工笔画艺术中,虽有陈洪绶、恽寿平、任伯年等诸名家力挽狂澜,却终究 I do not know whether it is due to personality or feel the excessive proliferation of ink paintings nowadays and the same, or feel the ink painting in the traditional and modern fit and transition are facing too many insurmountable obstacles, in short, engaged in more than a decade After the ink painting, the early 90s, the interest is empathy in the strokes have always been not concerned about their own, did not expect, once involved in the first out of control, when enthusiasm has not diminished. As we all know, the art of stroke painting has its unique rich and luxurious, elegant and elegant was collected in the Chinese painting, the development of the Tang and Song Dynasties peak. Song and Yuan dynasties, under the guidance of the classic aesthetics of Zen Buddhism “Loud sound of big sound, invisible elephant, five-color blindness,” the literati painting of ink and wash sprang up in full swing and became the mainstream of Chinese painting. In the art of brushwork, although Chen Hongshou, 恽 Shouping, Ren Born and other masters turn the tide, but after all