自古以来,绘画根在原创,贵在创新,这几乎成为无需争辩的说法。可是,在当今,从官方省级以上美协和画院来看,包括官员画家,著名画家、市场与拍卖记录高价画家为例,大家不妨留心看看他们的画展作品,仔细翻翻其不断出版和印发的画册或作品集,一定会惊奇地发现,原创和创新的作品少之又少,即使有也是零敲碎打,难以为继。这种现象大概有三种情况:一类是毫无发展仅为较有水平的传统套路与题材的所谓继承传统者;一类是缺乏创新、较高水准的在传统套路上一味追求个人技法者;一类是巧妙模仿、不断 Since ancient times, painting has its roots in originality and innovation, which has become almost indisputable. However, judging from the official art associations and art academies above the provincial level in the contemporary era, official artists, famous painters, high-priced painters in the market and auction records, we may look closely at their works of art exhibitions and carefully read through their continuous publications and Printed albums or collections will surely surprise to discover that there are few original and innovative works that are fragmented and unsustainable. There are probably three kinds of phenomena in this phenomenon: one is the so-called traditional inheritance with no development of more traditional routines and themes; the other is the lack of innovation and high standards of blind pursuit of personal techniques on traditional routines; One is clever imitation, constantly