2. 外语
  3. 传统的中国画，不模仿自然，是以表现心灵抒发情性为主体的意象主义艺术。画中意象与书法中的文字一样，是一种适于抒写的极度概括抽象的象征符号，伴随着意象符号的是传统的程式表现技巧。古代的大师们创造着独自心中的意象及其程式，风格迥异，生机勃勃。 后来，多数

传统的中国画，不模仿自然，是以表现心灵抒发情性为主体的意象主义艺术。画中意象与书法中的文字一样，是一种适于抒写的极度概括抽象的象征符号，伴随着意象符号的是传统的程式表现技巧。古代的大师们创造着独自心中的意象及其程式，风格迥异，生机勃勃。 后来，多数

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问题     传统的中国画，不模仿自然，是以表现心灵抒发情性为主体的意象主义艺术。画中意象与书法中的文字一样，是一种适于抒写的极度概括抽象的象征符号，伴随着意象符号的是传统的程式表现技巧。古代的大师们创造着独自心中的意象及其程式，风格迥异，生机勃勃。
    后来，多数人惯于对古人程式的模仿，所作之画千人一面。这样的画作一但泛滥，雅的不再雅，俗的则更俗。近代中国画仍然在庸俗没落的模式漩涡中进退两难。阿文与当今的有识同行一样，有志标新立异，寻找自我，建立起现代的属于自己的新意象、新格局，且一直背靠着这高雅的传统。
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答案The traditional Chinese painting is an art of imagery which focuses on revealing the artist’ s inner heart and expressing his rational leanings instead of imitating nature. Like the characters in Chinese calligraphy, the imagery in the painting is a symbol suited for expounding extreme generality and abstractness. Accompanying the symbol of imagery is the traditional formula of expression technique. Masters of ancient times created imagery in their hearts along with their own formulas, which differ from one another and are full of vitality. Most of the later painters were accustomed to copying the formulas of ancient masters. Their paintings were stereotyped and very much alike. When such paintings ran rampant, the elegant type no longer had any elegance, and the vulgar type became all the more vulgar.(Even traditional)Chinese paintings of modern times were caught/stuck in the whirlpool of vulgar and declining formulas(without making any headway in pursuing either popularity or elegance). Like contemporary artists of insight, Ah Wen aspires to create something new and original and achieve his own identity so as to build up a new imagery and a new style of his own based on the heritage of the/ such refined art.
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