一个世纪不过是历史长河中的短暂一瞬,而且,对于历史已极为悠久的中国画而言,也只是一个片段而已。可是,这毕竟是一个特殊的世纪,充满了如此众多的动荡与变迁,同时,这毕竟又是我们自己也处身其间的时代,而中国画在这样的百年间经历了太多从观念到材料以及从创作到接受的冲击,凸现出一种既与经典形态相关联同时又不尽相同的特别存在状态。对于这种似乎还在进行时态中的画种的方方面面进行严肃的记录,展开深刻的反思,难度自现,却又是亟需的。近期有幸展读刘曦林新著《二十世纪中国画史》,洋洋凡50余万言,可是,几乎想一 A century is but a brief moment in history, and it is only a fragment of a Chinese painting that has a long history. However, after all, this is a special century filled with so many turmoil and changes. At the same time, after all, it is an era in which we ourselves are also present. Chinese paintings have undergone too much from ideas to materials and from The impact of creation to acceptance highlights a special state of existence that is both associated with the classical form and different from it. It is imperative to have a serious record of all aspects of painting that seems to be still undergoing tense periods and to start a profound reflection on it. Recently, I was fortunate to have read “The History of Chinese Paintings in the Twentieth Century” by Liu Xilin, with more than 50 million words in foreign countries. However, I almost thought one