如何对待传统?如何去创新?这是我们美术界一直最为关注的话题。我以为,这个问题,李可染先生以他大量杰出的作品、精辟的论述,已经给我们作出了最好的解释,树立了典范。李可染先生的画最新：如《雨中漓江》,蒙蒙的细雨,给漓江披上一层纱罗,高耸的群峰,树木葱茏的江岸,一切一切,尽在蒙蒙细雨之中。夹岸的民居,成行的渔舟,却以焦墨线醒出,让淡淡的画幅有了坚挺的“骨”,又突出了主体。细看江岸的树木,都是淡墨层层勾、擦而成,且施以淡淡的花青,丰富无比,耐咀耐嚼。远看便成淡淡一片银灰,美极了!这正是雨中的江山,却又并非自然的如实描摹,他画出了一种来源于自然,又不同于自然的美。品味画中形象,无一不是用传统手法画出,其意境又远非前人作品所能有!笔笔是传统,处处皆新意!古人不曾用过的,也许就只那江中几笔倒影罢了。 How to treat tradition? How to innovate? This is our art world has been the most talked about topic. I think this issue, Mr. Li Keran with his large number of outstanding works, brilliant exposition, has given us the best explanation, set an example. Mr. Li Ke-ning’s latest paintings: such as “the Li River in the Rain”, drizzle, to the Li River draped a layer of leno, towering peaks, verdant riverbanks, everything in the drizzle. Clip houses, fishing line into the line, but to Coke Mexican line wake up, so that a faint frame with a strong “bone”, but also highlights the main body. Look at the trees on the river bank, are all layers of light ink hook, rubbed, and applied a touch of cyanine, extremely rich, Tsui chewy resistance. In the distance, there will be a touch of silver, beautiful! This is exactly the country in the rain, but it is not a true description of nature. He draws a beauty that is different from nature from nature. Taste the image of the painting, all are drawn with traditional techniques, and its artistic conception is far from the previous works can have! Pen is a traditional, everywhere new! The ancients never used, perhaps only a few strokes in the river Nothing more