几乎是与一场关于中国水墨画命运和前途的激烈而持续的争论同时,刘一原用20余年时间(从1986年至今)的埋头钻研、辛勤耕耘,为中国美术批评界提供了一批可从众多角度和层面阐释的水墨性“文本”。他继承了中国山水画“因心造境,以手运心”的传统,又不落前人笔墨与山水画图式的窠臼,确立了自己独树一帜的“心象风景”叙事风格。与“山水”相对应的“风景”一词,极易引人联想起西方的绘画传统,事实 Almost with a fierce and ongoing debate about the fate and future of Chinese ink painting, Liu Yixin, with more than 20 years of intense research (from 1986 to the present), worked hard to provide the Chinese art criticism community with a range of ideas that can be viewed from many angles And the level of interpretation of the ink “text”. He inherited the tradition of Chinese landscape painting “heart making, hand movement ”, without falling behind the stereotypes of the predecessors ’brushstrokes and landscape paintings, establishing his unique “heart like landscape ” narrative style. The term “landscape”, which corresponds to “Landscape ”, is very reminiscent of the Western painting tradition. The fact