通过创作实践和理论研究的双向努力,把握当代中国画的学术脉动,进而理清和解析当代中国画创作、研究中存在的阶段性问题,并将由此引发的学术思考,整合为作用于中国画未来发展进程的理性资源,是举办“东方之韵——2003中国水墨”活动的学术动议。一个客观的事实是:进入21世纪以来,由国家政治、经济日益强盛而带动国人的文化自信和不断扩大的文化视野而形成的更加从容、客观的治学心理,当代中国画创作研究,经过一段时间的躁动与不安之后,已悄然转向平稳、深入的发展态势。其特点有二:一是大批资深画家,理论家,由对外来文化思潮,观念冲击下的中国画的忧虑,转向对传统文化精神和民族绘画形式的自信与高扬;二是历经与西方艺术观念、样式的冲撞与 Through the two-way efforts of creative practice and theoretical research, we grasp the academic pulse of contemporary Chinese painting, and then clarify and analyze the stage problems existing in the contemporary Chinese painting creation and study, and integrate the academic thinking resulting therefrom into the development of the future development of Chinese painting The rational resources, is holding “Oriental Rhyme - 2003 China Ink” activities of the academic initiative. An objective fact is that since the beginning of the 21st century, the more calm and objective psychology of psychology and contemporary Chinese painting created by the country’s growing political and economic prosperity and the cultural confidence of its people and its ever-expanding cultural horizon have, over a period of time, Restlessness and unease have quietly turned to a steady, in-depth development trend. Its characteristics are twofold: first, a large number of experienced painters and theorists turn to the self-confidence and promotion of the traditional cultural spirit and national painting form from concerns about Chinese painting under the influence of foreign cultural thoughts and ideas; second, Collision with style