19世纪末叶,中国画在求变中,诞生于40年代的任伯年和吴昌硕,都显示出强烈的革新气息。他二人未到西方留过学,他们的变,是从中国画史长河中自然演变出来的。而诞生于90年代的汪亚尘以及他的同年代人,和十年前老一代画家不同,在他们身上,多具有一种五四狂飙精神。 所谓五四狂飚精神,是一种横扫旧文化、旧习俗的势不可挡的气概。他们张扬个性、蔑视礼法,汪亚尘和年龄相近的画友们一样,战斗性特别猛烈,必对传统绘画大张挞伐而后快,今天读其文,仍感余音缭绕。汪亚尘认为“现代艺术萎 At the end of the 19th century, Chinese paintings, undergoing change, were born in the 40s of Ren Biannian and Wu Changshuo, all showing a strong sense of innovation. Both of them did not study in the West, and their transformation was naturally evolved from the long river of Chinese painting. Wang Yashen and his contemporaries who were born in the 90’s are different from the older generation of artists a decade ago. In their works, they all have a spirit of May Fourth revolt. The so-called spirit of the May 4th Biao Biao is an overwhelming generalization of old cultures and customs. Like public figures of similar ages, they displayed their individuality and contempt for courtesy. Wang Ya-chen, like the painters of similar ages, was particularly fiercely fighting and would soon extol the traditional painting. After reading his essay today, he still felt the reverberation. Wang Ya dust that "wilting modern art