笔墨当随时代,即笔墨与时俱进,这是不言而喻的历史定理。不管哪个时代的作品都必然打上那个时代的烙印。任何时代的画家,不管他是“崇古”的,还是“立新”的,都必然具有那个时代的“现代感”。随着我国的改革开放,画家责无旁贷地在探索中国画的现代化,力求使中国画向现代型转轨,使古老的中国画成为真正意义上的现代艺术。现代艺术并没有一个固定的模式,它是随着时代的变异,以及政治、经济、文化的发展而发生变化。但有一点是肯定的,即它必然紧密地伴随着那个时代,贴切地反映那个时代的审美观念。随着工业文明、知识经济的发展,画家的创作则体现在他对时代精神的敏感和把握上,因此观念更新就成了画家“转型”为现代艺术家的首要的前提,是其一。 As time goes by, ink and ink advance with the times. This is a self-evident historical theorem. No matter which era works are bound to hit the mark of that era. The painter of any age, regardless of whether he is “Chonggong” or “making new”, must have the “modernity” of that era. With the reform and opening up of our country, the painter is duty-bound to explore the modernization of Chinese painting and strive to make the transition from modern Chinese painting to ancient Chinese painting into a truly modern art. Modern art does not have a fixed pattern, it is with the variation of the times, as well as political, economic and cultural development and change. But one thing is certain: that is, it must closely follow that era and appropriately reflect the aesthetic concepts of that era. With the development of industrial civilization and knowledge-based economy, the painter’s creation is reflected in his sensitivity and grasp of the spirit of the times. Therefore, the concept renewal has become the primary premise and the first one of the artist’s “transformation” as a modern artist.