艺术创作应着眼于艺术自身核心问题的挖掘,并不应仅仅停留在模仿前人的创作方法和观念思维方式上,就像刘勰在《文心雕龙·时序》篇和《文心雕龙·通变》篇里对文化艺术批评观所阐述的那样:“故知变染乎世情,兴废系乎时序”、“变则可久,通则不乏,趋时必果,乘机无怯”。艺术作品是艺术家对社会生活的超乎常人的敏感体验,它反映特定时代的精神。为此,艺术作品的传达就出现了两个层面的转换,首先是对景观社会的体验,其次是和观众之间一个互为交融的关系。它自然而然就构成了一个艺术家、社会、观者三者的 Art creation should focus on the excavation of the core issues of art and should not stop at imitating the creative methods and thinking modes of thinking of the predecessors. Just as Liu Yong wrote in Wen Xin Diao Long Dian Duo Wen Wen Diao Long Tongbian “article on the cultural and art criticism as elaborated:” Therefore, the change is known to change the worldly affairs, the development of waste depends on the timing “,” change can be a long time, there is no lack of generalism, . Works of art are the artist’s extraordinary experience of social life, it reflects the spirit of a particular era. Therefore, the transfer of works of art has appeared on two levels of conversion, first of all, the experience of landscape society, followed by a blend with the audience between the relationship. It naturally constitutes an artist, society, the viewer of the three