九届美展国画,总体讲,能以传统功力和造型基础为主要评奖标准进行评奖,作品的内容、形式、技巧能为多数观众接受,不像以往有的作品以各种制作方法替代了中国画的画法,偏激地脱离了中国画的传统,远离了中国画的根本和表现原则。展品中不同的个人风格也较为突出。 此次展出作品多以尺幅大而取胜。作品构图满,画面复杂,花大工夫,绘画过程长,而造成画面整体性弱,缺少气势,所以应当称之为画家的辛苦奖。展览缺少 显示精神力量的力作,没有像吴昌硕、潘天寿等画家的作品那样具有浩然之气的作品。有些画面非常琐碎,复杂,再细看功力较差,整个画面模糊不清,主题不突出。在当前改革开放的时代里,我认为作品的表现形式,应当有一些气势雄伟,浓墨重 On the whole, the 9th Art Exhibition traditional Chinese painting can be judged with the traditional skill and modeling foundation as its main criteria. The contents, forms and techniques of the works can be accepted by most audiences. Unlike some previous works, the traditional Chinese painting was replaced by various production methods Painting, radical deviate from the tradition of Chinese painting, far from the basic principles of Chinese painting and performance. Different personal style in the exhibits is also more prominent. The exhibition works to large size and win. Composition of the picture is full, the picture is complicated, the time is heavy, and the painting process is long, which results in the weakness of the picture as a whole and lacks the momentum. Therefore, it should be called the painter’s hard work award. The exhibition lacks the masterpiece of displaying spiritual power. There is no such thing as an awe-inspiring work by painters like Wu Changshuo and Pan Tianshou. Some pictures are very trivial, complex, and then look at the skill is poor, the entire picture is blurred, the theme is not prominent. In the current era of reform and opening up, I think the performance of works should have some magnificent, concentrated