对于当代画家来说,创作上的限制已经很少了,发达的现代传媒和多姿多彩的生活景象为一个画家成就自己的风格提供了大量的图像资源,而且就师承传统而言,还有很多传统资源尚待发掘和汲取,而在“黄宾虹热”中师承黄宾虹,一是有追风逐时之嫌,二是因为黄宾虹的面貌非常鲜明,一旦进入黄宾虹的笔墨世界,就难以“打出来”而形成自我的艺术风貌。这就是说,学黄宾虹对一个画家风格的形成是有一定“危险性”的。对此,画家舒建新当然明白。舒建新在师法黄宾虹之前,已是一个成熟的人物画家,因此取法黄宾虹对他来说,意味着要走一条“危险”路,而且,走进黄宾虹就伴随着如何走出黄宾虹的困惑,还意味着要放下自己为之努力多年已自成一家的人物画创作。舒建新是在上世纪90年代末开始全力打入“黄家山水”的,在此之前,他主要致力于写意人物画创作,大部分作品表现的 For contemporary painters, the limits of creation are scarce. The well-developed modern media and colorful life scenes provide a great deal of image resources for an artist to develop his own style, and there are many more for his teacher tradition The traditional resources to be discovered and learned, and in the “Huang Binhong hot” teacher Huang Binhong, one is suspected of chasing the wind on time, the second is because of the appearance of Huang Binhong is very clear, once into the Huang Binhong pen and ink world, it is difficult to “hit it” The formation of self-artistic style. This means that learning Huang Binhong has a certain “danger” to the formation of a painter’s style. In this regard, the artist Shu Jian new course understand. Shu Jianxin was already a mature figure painter before Huang Binhong was practicing law. Therefore, taking Huang Binhong as his method meant walking a “dangerous road” and entering Huang Binhong was accompanied by how to get out of Huang Binhong’s confusion and also meant To put aside their own hard work for many years has been a figure painting creation. Shu Jianxin is in the late 90s of last century fully into the “Yellow Mountains landscape”, Prior to that, he was mainly dedicated to the creation of freehand painting, most of the performance of the work