近代以来中国画在中西结合上,经历了由被动到主动、由间接到直接的探索阶段。现借吴冠中《笔墨等于零》向美术界发起的质疑,引发悬而未定的问题,提出第四种态度,“情贯中西”。在破除笔墨异化的基础上,唤起主体意识的觉醒,用“一个情字了得”立于情,以情统摄中西艺术,用“风筝不断线”立于生活,以中国现代生活为源泉形成民族特色。在多样中结合,在多样中区别。 Since modern times, Chinese painting has merged with China and the West and experienced a period of exploration from passive to active and from indirect to direct. By questioning Wu Guanzhong’s “Pen and Ink Equal to Zero” to the art world, the issue of pending issues has been raised and a fourth attitude has been proposed that “affirms both the East and the West.” On the basis of getting rid of the alienation of ink and calligraphy, we arouse the awakening of the subject consciousness, stand in love with “one love affair”, take Chinese and Western art with love in the same situation, stand in “kites continuous line”, and form the nation with the source of China’s modern life Features. In a variety of combinations, different in diversity.