今天,一切传统意义上的国画家都承受着两方面的巨大压力。一方面来自传统本身——在传统中钻研得越深越久,它就显得越浩瀚,越高不可攀;另一方面来自当代的种种理论和现实——它掀起了一阵阵“推陈出新”的时髦风尚,使人们相信自己越来越麻木的感觉应归因于早已腐败的旧形式。因此,无论是传统主义者还是革命家(那些带着未来主义面具的现实主义者们)都在抱怨画家们的功利主义,抱怨这个时代的堕落与腐朽。然而在我看来,这些争论和抱怨只能坏事,它不但使大部分艺术家身陷囹圄、进退维谷,而且掩盖了—个真正重要的问题:传统究竟是什么?这一切恰恰暴露出当代的轻浮与躁动,人们未曾看清事情的真相,便已在争论是尊崇亦或打倒,立场上压倒对方的欲望 Today, all the traditional Chinese painters are under tremendous pressure from both sides. On the one hand, it comes from the tradition itself - the deeper and deeper the tradition is, the more expansive and unsustainable it can be. On the other hand, contemporary theories and realities - it has created a wave of “innovation” , To convince people that they feel increasingly numb, attributed to the old forms of corruption. Therefore, both traditionalists and revolutionaries (those with futurist masks) are complaining about the utilitarianism of painters and complaining about the degeneration and decay of this era. However, in my opinion, these controversies and complaints can only be bad. Not only has it left most of the artists in a coy, stagnant, and overwhelmed-a really important question: what exactly is tradition? All this reveals the frivolous and Restlessness, people have not seen the truth of the matter, they have been in the debate is respected or down, the desire to overwhelm each other’s position