肖舜之的绘画充满笔墨的音乐性,他的笔墨不是勾皴擦染的表面呈现,他笔下的点画似乎经由一种特殊的熔铸获得某种柔韧性。它们不断缠绕、穿插、流动,交织成一个美妙的世界,充满视觉音乐。肖舜之的笔墨音乐不仅仅表现在笔墨本身的技术锤炼。笔墨技法不是每一个人按照相应的知识谱系认真学习就会的,在这个层面上最要命的是笔墨技法语言的精神质地,所以肖舜之的笔墨技法始终带着其与生俱来的精神气质。有关这一点,他的笔墨音乐还体现在他对自然的态度上。张藻说过:“外师造化,中得心源。”几乎每一个人都爱用这一句话在阐释对景作画的心得体会。但问题就在于是 Xiao Shunzhi’s paintings are full of ink and calligraphy. His ink and brush are not painted on the surface of the oily surface. The paintings under his brush seem to have gained some flexibility through a special casting. They are constantly twisting, interspersed, flowing, woven into a wonderful world, full of visual music. Xiao Shun’s pen and ink music is not only reflected in the pen and ink itself temper. Pen and ink technique is not everyone in accordance with the corresponding knowledge of pedigree serious study will, at this level is the most deadly of the pen and ink language and spiritual texture, so Xiao Shun’s pen and ink techniques always with its inherent spirit. His pen and ink music is also reflected in his attitude toward nature in this regard. Zhang algae said: “Alien good fortune, in the heart of the source.” Almost everyone love to use this sentence in the interpretation of the experience of King painting experience. But the problem is that it is