在世纪之交,中国画界再掀波澜,画界中有重要影响的两位人物张汀、吴冠中先生的关于中国画“笔墨是否等于零”的激烈辩争引起了人们对21世纪中国西发展前途的关注。为此,笔者来到中国画专业研究机构——文化部中国画研究院,采访了该院院长、著名国画家刘勃舒先生,倾听他对中国画前途的思索。刘勃舒先生说,作为综合反映几千年中华民族文化的中国画,具有其独特的美学思想。首先,以绘画材料来看,它由毛笔、宣纸、水墨(颜料)、印章组成完整的体系,这与西洋的水粉画有很大区别。因绘画材料上的差异导致了绘西表现手段、表现效果的不同。西洋画、日本画等等虽然与中国画一样都是在表现作者对社会的感悟,但其深度、广度是有很大差距的。中国画强调诗、书、画、印为一体的表现方 At the turn of the century, there was a wave of waves in the Chinese painting circles and two fiercely influential figures in the field of painting, such as Zhang Ting and Wu Guanzhong’s fierce debate on whether Chinese painting was equal to zero or not caused a promising development for West China in the 21st century s concern. To this end, the author came to the Chinese painting professional research institutes - Chinese Academy of Culture Research Institute, interviewed the president, the famous Chinese painter Mr. Liu Bo Shu, listen to his thinking on the future of Chinese painting. Mr. Liu Bo Shu said that as a Chinese painting that comprehensively reflects the Chinese culture for thousands of years, it has its own unique aesthetic concept. First of all, from the point of view of painting materials, it consists of a complete system of writing brush, rice paper, ink (paint) and seal, which is very different from the gouache in the West. Due to differences in painting materials led to the performance of the West means, the performance of the different. Western painting, Japanese painting, etc., as well as Chinese paintings, are all expressions of the author’s perception of society. However, the depth and breadth of the painting are far behind. Chinese painting emphasizes the expression of poetry, books, paintings and prints