近三十多年来,人文思想与艺术观念解放,作为个体的画家,在艺术表达的选择上,具有很大的自由性。艺术本来就是极其私人化的主观表达,画家人格越独立,思想越自由,其画作越有可能绽放缘于画家心性的光芒。因此,这几十年的中国画坛,在中西艺术观念的碰撞与融合下,呈现出一派“多元化”的审美趋势与精神面相。相对于当前的多元现状,传统中国画的审美趣味则是单向的、一元的。前人论画,逸、神、妙、能皆有所指,它是在统摄画作的笔墨、趣味、灵性而作出的一种超越性的艺术品藻, In the recent three decades or so, humanistic thoughts and artistic concepts have been liberated. As individual painters, they have great freedom in the choice of artistic expression. Art has always been an extremely personal subjective expression. The more independent the painter’s personality and the freer his thoughts are, the more likely his paintings are to bloom due to the light of the artist’s nature. Therefore, with the collision and integration of Chinese and Western art concepts, the Chinese painting circles in these decades have shown the aesthetic trend and the spiritual outlook of a school of “pluralism.” Compared with the current pluralistic status quo, the aesthetic taste of traditional Chinese paintings is unidirectional and monistic. The predecessors’ theory of painting, escaping, deity, magical, and cleverness all have their own meaning. It is a kind of transcendental art product which is made in the brushwork, fun and spirituality of the traditional painting.