如果不在国画和西画狭隘的语意概念中打转转,我们便会同意,20世纪中国绘画变革的一个主要倾向实际上就是从具象走向抽象。看起来只是一字之差,但其中的内涵,其中语言变化之丰富,境界嬗变之诡异却是一条千人画不尽,古人难逾越的鸿沟。海上女画家张雷平称自己的画是“半抽象”,颇令我心动。行百里者半九十也许只是生活中的一种谦虚和警示,而张 If we do not turn around the concept of parochial semantics in traditional Chinese painting and Western painting, we will agree that one of the major tendencies in the Chinese painting revolution in the 20th century is actually moving from figurative to abstract. It seems only a word of difference, but the connotation, of which the rich language changes, the strange state of the evolution is a thousand people can not draw, the ancients difficult to transcend the gulf. Zhang Lei Ping, a sea female painter, called her paintings “semi-abstract” and made me feel at heart. Perhaps half a trip to a hundred miles is just a modest and warning sign of life, and Zhang