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中国画一直秉承着“意象”的方式,既不主观也不客观,而是主客观、似与不似的完美结合。追本溯源,中国画的文化方式就是中国传统文化精神的意象显现,特别是儒、道所强调的“中庸之道”、“崇尚自然”等思想,对中国画起着宏观的指导作用。“意象”作为中国画很重要的一个理念,一直为许多学者所关注,并且不同的画家在长期的实践中形成了自己不同的体会。就我自己而言,中国画意象方面的思考更多应围绕传统文化来体验,在传统文化源头上做努力,从传统文化中去感发心性对时代、自然的体会,也力求在日常生活与文化精神的交融中达到一种境界。因此,如何在中国传统文化整体性中来体悟“道”的规律,并将之运行于中国画文化中,便成为现代中国画学子所普遍关注的课题。
Chinese painting has been adhering to the “imagery ” approach, neither subjective nor objective, but the perfect combination of subjective and objective, like and not like. The trace of origin, the Chinese cultural pattern is the manifestation of the image of Chinese traditional culture, especially the Confucianism and Taoism emphasize the thought of “Golden Mean” and “respect for nature” . As an important concept of Chinese painting, “Imagery” has always been the focus of many scholars, and different artists have formed their own different experiences in long-term practice. For my part, thinking about Chinese painting images should be based on the experience of traditional culture, making efforts at the source of traditional culture, feeling the heart and soul from the traditional culture to the times and nature, and also seeking to make a difference in everyday life and culture Spiritual blend to achieve a state. Therefore, how to understand the “Taoism” in the integrity of Chinese traditional culture and run it in the Chinese painting culture has become a topic of general concern to modern Chinese painting students.