叶建新的山水画,大气磅礴,洒脱自然。其大胆的构图、大块的墨色、大笔的渲染,可谓恣肆淋漓、云覆山翻,充盈着蓬郁的生机,让人注明,并在注目之际既生“独与天地精神往来”的“澄道观”的快意。正如林语堂在论中国画时精辟的描述:“中国艺术的冲动源于山水”。山水画在隋唐勃发兴起之时起,就是一种非功利的纯审美活动,画家对“天地大美”之恩、之情、之意的外化,是精神与意识价值的体现,虽然在后世的第一个时代,山水画都呈现出不同的风格与面貌,但以意摄象、以象写意,这些山水画取山水之形、 Ye Jian’s new landscape painting, magnificent, free and easy. Its bold composition, large pieces of ink, a large amount of rendering, can be described as unbridled dripping, cloud covered Hill turn, full of pompous vitality, people are noted, and in the eyes of both students “” Cheng Tao view “the pleasure. Just as Lin Yutang’s incisive description of Chinese painting: ”The impulse of Chinese art stems from landscapes." Since the rise of the blooming period in the Sui and Tang Dynasties, the landscape painting is a kind of non-utilitarian pure aesthetic activity. The externalization of the grace and affection of the painter to the beauty of heaven and earth is the manifestation of the value of spirit and consciousness. The first generation of later generations, landscape paintings have shown a different style and appearance, but the Italian camera, like the freehand, these landscape paintings take landscapes,