在“折中中西”的道路上,汤清海先生运用“近观法”和“焦点透视”的方法,既引入了西画中光影、色彩、立体、空间的的概念,又较好地运用了国画中的笔墨语言,创造出了一种“铜山铁松”的山水意象。这种“铜山铁松”的山水意象,相对传统山水画中的“太虚体”和创新画派的“朦胧体”来说,具有鲜明的艺术个性。对于国画创新来说,既是一种跨越,又是一种回归。 On the road of “compromising China and the West”, Mr. Tang Qinghai introduced the concept of light, color, solidity and space in the Western painting with the method of “near view” and “focal point” Better use of the pen and ink language in Chinese painting, creating a “Tongshan Tie Song ” landscape image. The landscape image of this kind of “Copper Mountain” is characterized by its distinct artistic individuality as compared with the “faint body” in the traditional landscape painting and the “obscure body” of the innovative painting school. For the innovation of traditional Chinese painting, it is both a leapfrog and a return.