中国画笔墨语汇乃古代先贤仰观天象、俯察地物而成人文表现之手段,是自然向人文的有机转换,更是物境、情境、意境的逐级升华,成为中国画表现的文化媒介和法式。然而,中国画笔墨几经转换和转化,便和自然有了隔阂与距离,极易使画家们忘记笔墨来自自然当向自然相印证之理,而一往无前,义无反顾地妄追风格和样式,致使画中笔墨深意日渐浅显。青年画家刘罡慧眼卓识,不甘与时流相比附,即知“笔墨当随时代”之真意,又明笔墨须从自然来之缘由,脑不停思,手不停挥, Chinese painting brush ink language is the means of ancient human beings looking down on objects and looking down at objects and objects. It is an organic transformation from nature to humanity. It is also a sublimation of the situation, the situation and the artistic conception and becomes the medium of culture and the French expression of Chinese painting. However, after several transformations and transformations, Chinese painting brushstrokes and natural estrangements and distances make it extremely easy for painters to forget that ink and wash come from nature and prove nature to nature. Deep meaning increasingly obvious. Liu Gang, a young painter, has an eye for his sight and is unwilling to be compared with the current. That is to say, the true meaning of “ink and brush as the time goes by” means that the ink must flow from the natural causes,