在风雨飘摇、西学东渐的80年代中叶,却有着这么一群人,他们在书画方面都很有了些名堂以后却还要“头悬梁,锥刺股”地读书,再后来,他们中的一些人便找到了当时正在中国艺术研究院任职的陈绶祥先生,于是乎一拍即合,在陈先生的统一筹划下,也便有了“新文人画”的产生,他们举办画展,召开学术研讨会,举行一系列的活动,这在改革开放伊始,西学忽涨几近轰轰烈烈的年代,着实是一件大事。一时间,国内外的专家、学者、书画家众说纷纭,有赞同,也有反对。各家报刊竞相刊载,新闻媒介频频报道,一时热闹非常。其实,这个画派叫做什么并不重要,关键的问题是他们针对当时的美术现状,较为踏实地做了些事情,而且一做便是十年,参与其中的书画家数以百计,影响了一大批人, In the midst of the mid-1980s, where there was a steady stream of rainstorms and Western learning, there were such groups of people who all studied painting and calligraphy but still had to study “head-suspended beams and cones,” and later, some of them Chen Shuxiang, who was working at the China Academy of Art at that time, found himself in a close fit. Under the unified planning of Mr. Chen, there was also a generation of “new literati paintings”, holding exhibitions, conducting academic seminars and holding a Series of activities, which at the beginning of reform and opening up, almost suddenly vigorous Western era, is really a major event. For a time, domestic and foreign experts, scholars, calligraphers have different opinions, approvals, and objections. Various newspapers competing published, the media frequently reported, very busy moment. Actually, it is not important what this painting school is called. The key issue is that they did something more steadfastly in response to the present state of fine arts. And when they did it for a decade, hundreds of calligraphists and painters participated in it, affecting A large number of people,