在提倡文化多元化的当代背景下,对中国画进行重新定位,以使之立足于世界绘画之林,这成为当代中国画研究的核心任务。将中国画作为一门人文学科纳入到当代文化之中,已是当代中国画家的一种共识。面对当今世界异质文化的碰撞和挤压,中国画要重新定位,不仅仅是一个简单的视觉改造问题,其中包括中国画语言、形式、材料、样式等多方面改造的问题,更重要的是要为中国画构筑一个和当代人文学科相连接的平台,梳理传统文脉,重构新的中国画样式。如果一幅画简化到约定成俗可以普及应用的程度,我们就不妨称之为字。字是人们在一定条件下描绘出来的一个或一套固定的标记,人们也按一定的方式对之进行解读。这种惯例一旦建立起来,字跟其指称的事物在外形上的相似之处在解读中就处于次要地位了,于是写字习惯的变迁也就 Under the background of promoting cultural pluralism, the reorientation of Chinese painting to make it stand in the world of painting has become the core task of contemporary Chinese painting. The incorporation of Chinese painting into contemporary culture as a humanistic discipline has become a consensus among contemporary Chinese painters. Faced with the collision and squeezing of heterogeneous cultures in today’s world, the reorientation of Chinese painting is not only a simple visual reform issue, including the transformation of many aspects of Chinese painting language, form, materials and style, but more importantly, For Chinese painting to build a platform connected with the contemporary humanities, combing the traditional context, reconstruction of new Chinese painting style. If a painting is simplified to the extent that popular conventions can be popularized, we may call it a word. The word is a fixed set of signs that people draw under certain conditions, and people also interpret it in a certain way. Once established, the appearance of the word in relation to its alleged subject matter is secondary to the interpretation, and the change in the habit of writing