彭兄向我郑重地推荐了侯拙吾。纵览侯拙吾近五六年以来一批呕心沥血的创作(约30幅),明显的特点是尺幅大(大致上皆为丈二匹),一律竖构图,所采用的工具、材质都是传统的,但在表达及其图像效果等方面却与传统面貌大异其趣,简直到了令人瞠目结舌的地步。曾有人说,中国画的出路在于观念和方法的转变。只有观念和方法变了,中国画也才能从根本上摆脱传统的藩篱,旧貌换新颜、进入它的现代或当代阶段。此言自有一定的道理。但我仍有疑问,就好比20世纪初的一个著名话题:“娜拉”出走以后又 Peng brother solemnly recommended to me Hou Zhuwu. A brief overview of Hou Zhuwu a series of painstaking efforts in recent five or six years of creation (about 30), the obvious feature is the large size (generally all Zhangzhang), all vertical composition, the tools used are all traditional , But in terms of expression and its image effects, but with the traditional look different, simply to the staggering moment. Some people once said that the way out for Chinese painting lies in the transformation of concepts and methods. Only when the concepts and methods have changed, can Chinese painting fundamentally get rid of the traditional barriers, the old appearance and a new look, into its modern or contemporary stage. This statement has its own certain truth. But I still have questions, like a famous topic of the early 20th century: “Nora” after leaving