凡有所相,皆是虚妄。身处繁华京师之中的周逢俊摒弃浮躁,苦思研习,探索文化创新,从深层次的文化和哲理中发掘灵感,并将中国画与西方文化相结合,不断追求中国画的更高境界。周逢俊对中国画的感悟,首先来源于他对美学、哲学、儒学、道学、历史以及佛学等诸多方面的造诣。而在师法古人的创作过程中,他既讲究笔墨技法,又追 Where there is phase, all are false. In the bustling capital of China, Zhou Fengjun abandoned the impetuous, hard thinking study, exploration of cultural innovation, deep inspiration from the culture and philosophy, and the combination of Chinese painting and Western culture, the constant pursuit of a higher realm of Chinese painting. Zhou Fengjun’s sentiment about Chinese painting first comes from his accomplishments on aesthetics, philosophy, Confucianism, Taoism, history and Buddhism. In the process of creating the ancients’ ancients, he paid attention to the techniques of brushwork and ink and pursued them