屋漏痕因缓慢前进中不断遇到阻力,其线之轨迹显得苍劲坚挺,用这种线表现老梅干枝、悬崖石壁、孤松矮屋之类别有风格,但它替代不了米家云山湿漉漉的点或倪云林的细瘦俏巧的轻盈之线。若优若劣,对这些早有定评的手法大概大家都承认是好笔墨。但笔墨只是奴才,它绝对奴役于作者思想情绪的表达,情思在发展,作为奴才的笔墨手法永远跟着变换形态,无从考虑将呈现何种体态面貌。也许将被咒骂失去了笔墨,其实失去的只是笔墨的旧时形式,真正该反思的应是作品的整体形态及其内涵是否反映了新的时代风貌。 Due to the slow progress of housing leakage constantly encountered resistance, the line of the trajectory appears vigorous strong, with this line of performance of the plum dry branches, cliffs, lonely houses and short houses of the genre, but it can not replace the Mo Yunshan wet The point or Ni Yunlin’s thin and Qiaoqiao light line. Ruoyouruowujiao, these early fixed-rated approach probably we all admit that it is a good pen and ink. However, the pen and ink is only a slave, it is absolutely enslaved in the expression of the author’s thoughts and emotions, emotions in development, as the penmanship of the pen and ink techniques always follow the transformation of form, unable to consider what kind of physical appearance. In fact, what is lost is only the old form of ink and wash. What should really reflect on this is whether the overall shape of the work and its connotation reflect the new style of the times.