作为一种独立的表现美的工具,传统绘画语言具有非常强的延续性和经久不衰的顽强生命力,这就是说,传统绘画语言在时代发展中有其独立的存在价值——就如我们无法创造一种新的民族语言去取代传统的汉语一样。而传统的绘画语言可以表达时代的内容,谱写时代的“文章”。这正是绘画创新的内蕴所在。 朱全增就是这样一位深谙此理的画家,通过他的作品,向人们展示了他以传统笔墨谱写华章的不懈追求与努力。笔墨是中国画的精髓所在。观赏评判一个画家的作品,当然首先要着眼于他的笔墨功力。朱全增笔下无论是山水或花鸟,用笔施墨,既有力度,又有灵气。他没有逾越法度绳矩,却写出了自己的笔性笔趣,这既是个性,又是一种艺术境界,非笔墨出于心胸、 As an independent tool for expressing beauty, the traditional painting language has a very strong continuity and an enduring tenacious vitality. That is to say, the traditional painting language has its own independent value in the development of the times - just as we can not create A new national language to replace the traditional Chinese. The traditional painting language can express the content of the times, write the times “articles.” This is the essence of painting innovation. Zhu Quanzeng is one such painter who understands this theory. Through his works, Zhu Quanzeng shows people his unswerving pursuit and hard work of composing traditional Chinese ink. Pen and ink are the quintessence of Chinese painting. Appreciation of a painter’s work, of course, the first thing to look at his pen and ink skills. Written by Zhu Quan Zeng whether it is landscape or flowers and birds, with ink pen, both intensity, but also Aura. He did not pass the law of justice, but wrote his own pen and pen, which is both personality, but also an artistic realm, non-pen out of heart,