2022年度艺术大家 推荐榜样人物 非遗艺术捻条油画创始人吴建堂·网展

吴建堂艺术

简 介

世界杰出华人艺术家；

联合国文化总署文化大使；

联合国教科文卫组织专家成员；

英国皇家艺术研究院院士；

中国艺术界泰斗；

中国美协会员；

中国国家书画院名誉院长；

中国最具收藏价值艺术大师；

中国国家文化卓越贡献奖；

中国文化部中国德艺双馨书画；

院荣誉院长；

香港特别行政区书画社副社长；

香港特别行政区文联美协副主席。

Art of Wu Jiantang

Jane interface

World outstanding Chinese artists;

Cultural Ambassador, United Nations General Administration for Culture;

Expert Member of the United Nations Education, Science and Health Organization;

Fellow of the Royal Academy of Arts;

A leading figure in the Chinese art world;

Honorary President of China National Academy of Painting and Calligraphy;

China's most valuable art master;

China National Cultural Excellence Award;

Chinese Ministry of Culture Chinese calligraphy and painting;

Honorary president of the Academy;

Vice President of Hong Kong Special Administrative Region Calligraphy and Painting Society;

Vice President of the Hong Kong Special Administrative Region Artists Association.

中国一绝捻条画的"四大价值"

红色基因的记忆价值；人类独特的艺术价值；

人类艺术的传承价值；

呼唤人类珍爱生命，礼仪中国、君子风骨的世界价值。

吴建堂，1936年出生于四川青神，祖籍广东梅州，现年87岁，画历83年，定居北京。他继承并革新发展了中国独有的捻条画艺术，发明了捻条油画，成为创始人。

Wu Jiantang was born in 1936 in Qingshen, Sichuan Province. His ancestral home is Meizhou, Guangdong Province. He is 87 years old and has been living in Beijing for 83 years. He inherited and innovated the unique Chinese art of twist painting, invented twist painting, and became the founder.

吴建堂父亲吴道悲教授，是与徐悲鸿、张大千、关山月齐名并称的"书画四杰"，他是吴道悲的唯一嗣子，是非物质文化遗产"吴氏捻条画"唯一的传承大师。85年前，吴道悲教授因于红军长征和国民党军的两军混战中丢失毛笔，在急需写生眼前祖国的大好河山时，才发明出的这一绘画工具。

Professor Wu Daobei, the father of Wu Jiantang, was named as the "four masters of painting and calligraphy" with Xu Beihong, Zhang Daqian and Guan Shanyue. He was the only descendant of Wu Daobei and the only master of inheriting the intangible cultural heritage of Wu's painting. Eighty-five years ago, Professor Wu Daobei lost his brush during the Long March of the Red Army and the mil between the Kuomintang Army. He invented this painting tool when he was in urgent need of sketching the beautiful rivers and mountains of the motherland.

继而，吴建堂在从小的绘画中，不断得到父亲挚友徐悲鸿、张大千、张采芹的倾情指教，后经35年的艰苦磨难，使他给捻条画赋予了画界自古以来被人们淡忘了的大自然的粗犷美、零乱美及随和美真谛，斑驳朴拙的视觉刺激，不但在作画工具上变革了绘画技法，且在绘画理论和理念上变革并提升了绘画艺术！既融入了中西方的绘画精髓和他漫长罕见的磨难而形成的逆扬奋进个性，使之炯具特色，成为了珍、稀、奇、特、独创的艺术品质，被专家们誉为： 国画艺术的奇葩。从根本上丰富并升华了传统的绘画艺术。

Then, Wu Jiantang in painting since childhood, and constantly get father's friend, xu beihong, chang, Zhang Cai qin gusto, the knowledge of after 35 years of suffering and hardship, makes him to twist the painting gives the beginning since the ancient times forgotten the rugged beauty of nature essence, messy and easy-going, mottled piao zhuo visual stimulation, not only on the painting tool change the painting techniques, And in the theory and idea of painting changes and promotes the art of painting! Not only integrates the essence of Chinese and Western painting and his long and rare tribulations formed by the reverse upward and forward personality, so that it has its own characteristics, become a rare, rare, strange, special, original artistic quality, praised by experts: the wonderful work of Chinese painting art. It enriches and sublimates the traditional painting art fundamentally.

初论捻条画艺术

1987年发表于《中国西部流》月刊，2015重撰于《文化月刊》

文｜吴建堂On the art of spline drawing

Published in the monthly magazine Western China Flow in 1987, rewritten in the Monthly magazine Culture in 2015

By Wu Jiantang

捻条画是用一种不同于毛笔的“捻条”（用纸页折叠而制成的纸束条）蘸墨、蘸色所作的国画（乃至油画)。屈指算来,一百多年过去，除我祖父在清代研创折纸艺术外。我父吴道悲教授开创捻条工具于国画，他是捻条水墨画的创始人。本人继承、革创了捻条画并创立了“捻条油画”，故国人常称之为“吴氏捻条画”，被视为中国一绝的绘画艺术。

Twist strip painting is a traditional Chinese painting (or even oil painting) made by dipping ink and color with a kind of "twist strip" (paper bundle made by folding paper pages), which is different from the brush. In the past 100 years, except for my grandfather in the Qing Dynasty, origami art. My father, Professor Wu Daobei, initiated the twist tool in Chinese painting, and he is the founder of Twist brush painting. I inherited and innovated the twist bar painting and founded the "twist bar painting", which has not been infringed by others for a hundred years. The native people often call it "Wu's Twist bar painting", which is regarded as the unique painting art in China.

我们为什么特钟捻条画

One, why do we special bell twist a painting

1987年家父离世三十七周年，新加坡举办了他的捻条画遗作展，1990年及2013年新加坡又举办了他的遗作拍卖展，捻条画在海内外引起了广泛关注。

我们之所以要付出几代人达一百多年的努力去搞捻条画，是基于这样的一种信念：工具在绘画中不是绝对的因素，但却是重要的因素，世界艺术都是相通的，不发展不变革就失去了生命力。 近三十年来，专家猛然发现用捻条作画恰恰恢复了大自然粗犷美、零乱美、随和美的美的真谛，这藉慰了我们，使我们有了信心去努力去耕耘。

中国画注重线条，线，在感情抒发上占中心位置，要使线条每一笔都带感情味和奇趣，并求格调新韵，就不能不考虑绘画工具的必要变革。实践证明用捻条作画也更容易体现中国画的灵气韵味。毛笔画固然有不可否认的特色和绝对的传统味和发抒的优势，是中国画的根基，我们常言“国画是捻条画之母”，但是世上之事又绝对没有完全十全十美的，我们若客观和务实一点的加以观察，就可以发现毛笔画因为人工刻意去做出的“毛”的局限，弄得不好就易产生违反作者意愿的笔墨的“乖”、“呆”、“甜”、“腻”之弊，这恰恰是书画之大忌，限制了画家对大自然真谛美的发挥及个性的倾注。这就不能不使我们去做新的尝试，以丰富传统艺术的宝库，虽然捻画的问世不是刻意去“做”去“求宠”，而是画家在战乱逃荒中丢失了毛笔，急于写生大好河山，“因祸得福”，偶然发明的。但我辈亦因，为了丰富传统艺术就得去深究和发扬、完善它。经百年研究、改进、创新，“捻条”形成了圆扁、粗细、大小、齐丫数种，（我父原是三十四种，我精简成了六种）用这种工具画国画，具有既刚又柔、使用自如，易抒发画家情感和返璞归真，表现大自然真谛美的效果，且用它画出的画具有洒脱、奔放、粗犷、离奇、零乱、野莽和变化莫测的特色。特别是画山水画，可得苍莽遒劲和自然天成之美感。但是捻条不便画细腻的工笔画，如果太细腻了反而会失去了捻条画的粗犷、零乱、洒脱、奔放味韵。用捻条作画不受时间、条件、环境的限制，不一定要有砚、毡、色。只要画家有兴致，只要有纸、有墨和水，随时随地都可以画写生画及创作画。七年前，一个孩子在看了捻条画后说“捻画，就是用简单的工具画出最美的图画。”

After the 37th anniversary of my father's death in 1987, an exhibition of his posthumous works was held in Singapore. In 1990 and 2013, his posthumous works were auctioned in Singapore, attracting wide attention at home and abroad.

The reason why we have made efforts of several generations for more than one hundred years to develop twirl painting is based on such a belief: tools are not an absolute factor in painting, but they are an important factor, and the art of the world is interlinked, without development or reform, it will lose its vitality. In the past 30 years, experts have suddenly found that painting with twist strips restores the true meaning of nature's rough beauty, messy beauty and easy-going beauty, which comforts us and gives us confidence to work hard.

Chinese painting pays attention to lines, lines, and occupies a central position in the expression of feelings. In order to make every stroke of lines with emotional flavor and curiosity, and seek a new style, we can not but consider the necessary reform of painting tools. Practice has proved that painting with twist strips is also easier to reflect the aura of Chinese painting. If it is not done well, it is easy to produce the disadvantages of "lovely", "dull", "sweet" and "greasy" of pen and ink against the will of the author. This is exactly the big taboo of painting and calligraphy, which limits the painter's play of the true beauty of nature and the dedication of personality. This makes us have to make new attempts to enrich the treasure house of traditional art. Although the emergence of Twist painting is not deliberately to "do" or "seek favor", but the painter lost his brush in the war and fled the famine, eager to paint the beautiful rivers and mountains, "a blessing in disguise", accidental invention. But our generation also because, in order to enrich the traditional art must go to study and develop, perfect it. After a hundred years of research, improvement and innovation, "twist" has formed several kinds of round flat, thick and thin, size and Qi Ya (my father originally had 34 kinds, I reduced to six kinds). Using this tool to paint traditional Chinese painting has the effect of being both firm and soft, easy to use, easy to express the painter's feelings and return to simplicity, and to show the true meaning and beauty of nature. And the painting with it has free and easy, bold and unrestrained, rough, strange, disorderly, wild and unpredictable characteristics. Especially landscape painting, can be bold and natural beauty. However, it is inconvenient to draw delicate Gongbi painting, if it is too delicate, it will lose the rough, messy, free and easy, unrestrained flavor rhyme. Drawing with twirling strips is not limited by time, condition or environment. It does not have to have inkstone, felt or color. As long as the painter is interested, as long as there is paper, ink and water, you can paint and create paintings anytime and anywhere. Seven years ago, a child saw a twist drawing and said, "Twist drawing is to draw the most beautiful picture with a simple tool."

捻条画是艺术变革思维的前笛，工具、技术和理论一齐变

Twirling painting is the foreflute of artistic thinking reform. Tools, techniques and theories change together

线条美和灵气是中国画的精髓，这是西方艺术不具有的，捻条画恰恰发挥了这个优势，且十分讲究墨和色的对比美和变化美。常住重以大小、粗细、高低、冷暖、枯湿。齐丫、面线的对比体现于捻画中。美，是在对比效果中产生的。捻画和传统画一样忌“艳”重“雅”！同时大胆地用泼墨、洒染等法增加美的分量，作者特别强调“变革不能脱离传统”，颇忌因单一求变而忘记了炎黄的传统血脉的常例偏弊，我们“变”，不要忘记自己的血管里是流着炎黄祖先的血，不能刻意的去迎合国外的口味或因追求金钱效益而产生伤及自己的民族形象的艺术（这样的例子往年是有一些的，幸好现在减少了许多）。在捻条画中大胆的吸纳了西方艺术的重立体、重空间、重光线、重色彩的精髓。在“用笔”上捻条画有“打笔”、“滚笔”、“揉笔”、“弹笔”、这与国画的习惯手法是不相同的，而拖笔、擦笔、逆笔法则与国画大同小异，视“线”的大小和表现对象不同，也偶尔采用毛笔和捻条共用的方法。总之，变革工具不是目的，追求更完美更具特色的艺术才是目的，故不拘泥于单一方法，有时我甚至在画捻条画时动用植物干标本蘸墨蘸色在纸上“打”、“按”、“染”。捻条画的制作原是用“北京道林”纸，后来改用更特殊的纸页经两种药水浸泡后再蒸一次，折叠成条，制成可作画之“捻条”。制一次“条”可画8-12幅画，“捻条”的刚柔性间于西画的猪鬃油画笔与国画的羊毫笔之间，故其临阵操作兼容了中西画的表现手笔优势和效果。选用画纸方面，85年前的父亲吴道悲是用不浸润的薄而坚实的和一些宋代纸差不多画纸，及至我辈，我改用了有浸润力的生宣纸作画纸，我发现浸润效果本身又是一种传统美的优势不能放弃。捻条画的意义还不仅仅是工具的变革，它还唤醒了人们在艺术上也不能默守陈规，应追求和忠于大自然的原汁原味的美，应去变革，去丰富和完美传统艺术。传人吴乙古（我儿），把中华的佛学、儒学、道学思想和理念也融入捻画中了，证明捻画也变革成了理念和绘画哲理的铸体，总的目的是在继承传统的基础上变，变工具、变理论，以至变人伦观念。让传统更有生命力，更完美，更贴近大自然和人间、并不脱离艺术的真、善、美。我辈肩负着这个使命！我们认为画家的使命不单是将作品供人们欣赏，更重要的使命是要用艺术来复苏和弘扬中华民族的传统与精神，雪去我们200年落后挨打的耻辱。我们以画以诗来达到这个使命和目的。

Line beauty and aura are the essence of Chinese painting, which is not western art, twist painting exactly play to this advantage, and pay great attention to the contrast and change of ink and color beauty. Permanent weight to size, thickness, height, temperature, dry wet. The contrast of Qi Ya and surface line is reflected in twist painting. Beauty is produced in the effect of contrast. Twist painting and traditional painting the same taboo "Yan" heavy "elegant"! At the same time, the bold use of splash-ink, sprinkling and dyeing method to increase the component of beauty, the author especially stressed that "change can not be separated from the tradition", rather avoid because of a single change and forget the traditional blood of Yan Huang normal bias, we "change", do not forget their own blood vessels is flowing the blood of Yan Huang ancestors. We should not deliberately cater to foreign tastes or harm our national image because of the pursuit of monetary benefits (there were some such examples in the past, but fortunately there are many fewer now). In the twist bar painting, it boldly absorbs the essence of western art that emphasizes three dimensions, space, light and color. There are "stroke", "roll", "knead", "flick" on the "brush", which is different from the customary techniques of traditional Chinese painting, while the dragging brush, wiping brush and inverse brush are much the same with traditional Chinese painting, depending on the size of the "line" and the performance object, and occasionally the method of writing brush and twist is shared. In short, the purpose is not to change tools, but to pursue more perfect and distinctive art. Therefore, I do not stick to a single method. Sometimes, I even use dried plant specimens dipped in ink and color to "beat", "press" and "dye" on the paper when I draw a twist strip painting. Twisting strips were originally made of "Beijing Doulin" paper, but later more special paper pages were soaked in two kinds of potions, steamed again, and folded into strips to make "twisting strips" that could be painted. A single "strip" can draw 8-12 paintings. The stiffness and flexibility of the "twist strip" is between the bristle brush in western painting and the Yang brush in traditional Chinese painting. Therefore, its operation at the scene is compatible with the advantages and effects of Chinese and Western painting. Selection of painting paper, 85 years ago his father Wu Daobei is not infiltrating thin and solid and some Song Dynasty paper almost painting paper, until my generation, I switched to infiltrating power of raw rice paper painting paper, I found that the infiltration effect itself is a traditional advantage can not be given up. The significance of twist painting is not only the transformation of tools, but also the awakening of people in art should not abide by the old rules, should pursue and be loyal to the original beauty of nature, should change, to enrich and perfect the traditional art. Wu Yigu (my son), the successor, also integrated the thoughts and concepts of Chinese Buddhism, Confucianism and Taoism into the twisting painting, proving that the twisting painting has also transformed into the casting of ideas and painting philosophy. The general purpose is to change, change tools, change theories, and even change the concept of human relations on the basis of inheriting the tradition. Let the tradition more vitality, more perfect, closer to the nature and the world, not separated from the truth, goodness and beauty of art. We shoulder this mission! We believe that the mission of painters is not only to provide works for people to appreciate, but also to use art to revive and carry forward the tradition and spirit of the Chinese nation, and to erase the shame of being beaten after 200 years of backwardness. We use painting and poetry to achieve this mission and purpose.

历史上诸大师对捻条画的评价

Three, historical masters on the evaluation of twist painting

捻画能存在和发展100余年的原因，在诸专家的评价就可得知，早在1987年，78岁的徐悲鸿的秘书（罗中立的导师）叶正昌教授就亲笔题写道“当时在国画的表现方法上，用竹笔画者有之，用指画、舌画者有之，而吴先生首创的捻画，气势磅礴，栩栩如生，较之前者艺术性更高”。1993年，我被徐悲鸿夫人接见，在徐馆作画，徐夫人廖静文女士对捻画题赞为“巧妙的艺术”。1995年，我在中央美院作画被权威教授钱绍武接见，钱题誉为“别具天趣”。1996年，四川美院白德松教授（导师）对捻画山水书赞为“具斑驳、朴拙之视觉刺激，有别于毛笔画之特色”1995年，中国人民大学徐悲鸿艺术馆学院院长徐庆平博士（徐悲鸿之子）函赞捻画曰“接函得见大作，对先生于崎岖道路自强不息、勇敢开拓之精神十分钦佩，祝艺事不断精进，江团鱼形象动态俱佳，真杰作矣！”可见，只要画家潜心于中西画之实践和研究，持之以恒地探索，且以“功在画外”的信念去修炼，走向大自然，走向民间，捻画的生命力和发展无疑是无止境的，它以特殊画种的地位屹立于海内外。

Twist drawing can the reason of existence and development of more than 100 years, in the opinion of the experts can learn, as early as 1987, 78 - year - old professor xu beihong secretary (luo zhongli mentor) Ye Zhengchang will personally inscribed way "at that time, in the performance of the traditional Chinese painting methods, use of bamboo stroke, is initiated with finger painting, tongue, and wu first twist, majestic, lifelike, More artistic than the former ". In 1993, I was interviewed by Mrs. Xu Beihong and painted in the Xu Museum. Mrs. Xu, Ms. Liao Jingwen, praised the twist painting theme as "ingenious art". In 1995, I was interviewed by the authoritative professor Qian Shaowu when I was painting in the Central Academy of Fine Arts. In 1996, Professor Bai Desong (tutor) of Sichuan Academy of Fine Arts praised the landscape book of Jinghua painting as "having the visual stimulation of moteness and simplicity, which is different from the characteristics of brush painting." In 1995, Dr. Xu Qingping (son of Xu Beihong), dean of Xu Beihong Art College of Renmin University of China, wrote to praise Jinghua, saying, "After receiving the letter, I can see the masterpiece. I admire your spirit of self-improvement and brave pioneering on the rugged road, and wish you continuous progress in your work. The image of Tuanyu is good and dynamic, which is really a masterpiece!" It can be seen that as long as the painter is devoted to the practice and research of Chinese and Western painting, persistent exploration, and the belief of "work outside the painting" to practice, to the nature, to the folk, twist painting vitality and development is undoubtedly endless, it stands in the position of special painting at home and abroad.

捻条画发明和发展的过程

Four, the process of invention and development of twist drawing

家父在1935年在四川雅安南部大山中遇红军长征与国民党军激战，在战火中被逼上了大山，丢失了毛笔，急于写生眼底山河，于是急中生智，用荷包仅有的纸页折叠成“捻条”蘸墨蘸色水墨写生作画，顿时发觉捻画山水获得了意想不到的奇特和变化莫测，野莽苍劲的艺术效果。被诸位大师予以评价，确立了捻条水墨画的地位，父在抗战时的成都举办了四次捻条画展，一次捻条画讲座（在南艺），影响颇大，早在20世纪40年代的抗战时期全国艺术人才汇集于成都，徐悲鸿、张大千和成都南虹艺专的校长赵治昌教授就题赞捻画为“读万卷书行万里路方能至矣”！徐悲鸿在1940年首次画展开幕式上题赞为“怪笔神功，独特无双”。潘天寿赞“吴道悲为中国的才子画家”抗战胜利后捻条画又传到了国外，致使国外著书和评论，写进了艺术史册。捻条画为我中华传统艺术增添了一朵“国画艺术的奇葩”。2009年捻画被批准给非物资文化遗产艺术，本人被评为非遗艺术代表性传承人，这是国家对捻条画艺术的认可和关怀。有识之士和一些群众喜欢捻条画，甚至激情时把捻条画喊成“世界非物质文化遗产”，但，我们管不住各种喊法，各种激情地希望性的喊法与我们脚踏实地地做事的实情和秉性是不一样的一回事，其实捻条画艺术的立脚、发展和获誉并不单的属倚于非遗， 它首先是传统艺术的创新和升华， 是技艺和理论的突破和和升华，增添了艺术的品类和美的享受，世人看重的还是这种独特的，不同于其他非遗艺术的形象和性质，跳档的标新不是我们做的，艺术家的秉性，本身就是诚实的。

My father in the mountains in the south of sichuan ya 'an in 1935 when the red army long march with the kuomintang army fighting, was forced on the mountain and lost brushes, eager to sketch fundus was, then used his quick wits, with only sheets of paper folded into pockets "twist" dipping color ink painting ink sketches, suddenly found that twist painting landscape won the strange and unexpected change, Wild and vigorous artistic effect. My father held four art exhibitions in Chengdu during the war of Resistance Against Japanese Aggression, and one lecture in Nanyi, which had a great influence. As early as 1940s, during the war of Resistance against Japanese Aggression, artistic talents from all over the country gathered in Chengdu. Xu Beihong, Zhang Daqian and Professor Zhao Zhichang, the president of Chengdu Nanhong Art College, praised it as "reading ten thousand books and traveling ten thousand miles to reach it"! Xu Beihong in 1940 at the opening of the first exhibition of the title of praise "strange pen magic, unique". Pan Tianshou praised "Wu Daobei as China's talented painter". After the victory of the war of Resistance against Japanese aggression, spline painting was spread to foreign countries, causing them to write books and comments, which were written into the art history. Twist painting adds a "wonderful flower of Chinese painting art" to my traditional Chinese art. In 2009, twisting painting was approved as a non-material cultural heritage art, and I was named as a representative inheritor of intangible cultural heritage art, which is the recognition and care of the state for the art of twisting painting. People and some people like to twist the painting, and even called passion the twisted bar drawing into "world intangible cultural heritage", but, we can't hold the called method, various passionately want sex shout and does things with our feet on the ground of the truth and that being is not the same thing, actually twist footing, the development of painting art and probity and not on the list of national intangible, First of all, it is the innovation and sublimation of traditional art, the breakthrough and sublimation of techniques and theories, and adds to the enjoyment of artistic categories and beauty. What the world values is this unique image and nature, which is different from other intangible cultural heritage art. The standard jumping is not done by us.

捻条画立艺的基石

Five, twist the cornerstone of painting art

捻条画的发展，应当注意五个方面，一是捻条画不应单一地追求毛笔画效果，应有毛笔画不能代替的特色；二是捻条画创作必追求较高艺术水平；三是捻条画涉及的题材和创作要具有相当规模；四是捻条画要融入中华文化的理念和中西方艺术的精髓，使捻条画具深层次的艺术内涵；五是捻条画应适应各个层次的人的审美，获得更多的人的喜爱与欣赏。

未了解捻画真谛的人也许会疑误捻画，单纯地说绘画不用毛笔就忘掉了祖宗，而忘了捻画的表现出的传统素韵。远古人不用笔和墨作画，也不用宣纸，难道以后的年代发展变革成了用毛笔、墨和宣纸亦称为“忘了远古的祖宗”世界是在探索和变革中前进的，这才是真理。或偶有人贬斥捻画的其它。这很正常，大多的赞声中夹杂偶尔的异议声，是每项事物发展、前进的必然过程和现象，但捻画有传统根基，兼容了中西画之优势，融入了画家的长期磨练而形成的个性和理论功底，已为海内外认可。无疑，它会以崭新的面目和无尽的生命力屹立于中华民族艺术之林，增加了一个民族艺术的花朵。只有群花齐放才能打扮出美丽的艺术的春天。我们会谦虚求进，不断探索，吸取各方面的宝贵意见，自劈自己的缺点和不足，以求更丰富更完善这门新韵的中华艺术，以求不辜负国人和爱家的厚爱与关怀和支持。

自古，艺术的创新不是改朝换代，是一种积淀！世界上的创新与发现大多是在偶然中得到的，真正的创新与发现都不是为了金钱，也不是为了哗众取宠，故，捻条画这种被称为“中国一绝”的偶然发明的创新技术，实际上是升华了中华民族的传统国画艺术。传承人常说“国画是捻条画的母亲。”

Five aspects should be paid attention to in the development of twirling brush painting. First, twirling brush painting should not solely pursue the effect of brush painting, but should have characteristics that brush painting can not replace. Second, the creation of twist painting must pursue a higher artistic level; Third, the subject matter and creation involved in twist and strip painting should have a considerable scale; Fourthly, the twirling drawing should be integrated into the concept of Chinese culture and the essence of Chinese and Western art, so that the twirling drawing has a deep artistic connotation; Fifth, the twist drawing should adapt to the aesthetic appreciation of people at all levels, and get more people's love and appreciation.

People who do not understand the true meaning of twist painting may suspect the mistake of twist painting, simply saying that painting does not use brush to forget the ancestors, and forget the traditional elements of twist painting. The ancient people did not use pen and ink to paint, nor did they use rice paper. Could it be that the development and transformation of the later years have changed into the use of writing brush, ink and rice paper, also known as "forgetting the ancient ancestors"? The world is moving forward in exploration and reform, this is the truth. Or occasionally someone disparages the other twist painting. This is quite normal, most of the praise mixed with occasional voices of dissent, is the inevitable process and phenomenon of the development and progress of everything, but twist painting has traditional roots, compatible with the advantages of Chinese and Western painting, into the painter's long-term training of personality and theoretical foundation, has been recognized at home and abroad. Undoubtedly, it will stand in the forest of Chinese national art with a new face and endless vitality, increasing the flowers of a national art. Only a group of flowers can dress up the beautiful art of spring. We will be humble and strive for progress, constantly explore, absorb valuable advice from all aspects, cut their own shortcomings and shortcomings, in order to enrich and improve this new Chinese art, in order to live up to the love and care and support of the people and the family.

Since ancient times, artistic innovation is not a change of dynasties, but a kind of accumulation! Most of the innovation and discovery in the world are obtained by accident, and the real innovation and discovery are not for money, nor to attract attention to the public. Therefore, the innovative technology invented by accident, which is called "China's unique", actually sublimates the traditional Chinese painting art of the Chinese nation. Inheritors often say that "traditional Chinese painting is the mother of twist painting."

吴建堂是位名副其实的国画大家,近年来,他全部精力倾注于水墨创作并获得了骄人的成就。他笔耕不辍不断超越自己,也不断超越了同时代人,卓然以自己独特的风采为国内外所瞩目,并成为当今中国画现代化改革中开创一代新风的带头人。

Wu Jiantang is a real master of traditional Chinese painting. In recent years, he has devoted all his energy to ink painting and achieved remarkable achievements. He has been constantly surpassing himself and his contemporaries. Zhuo Ran has attracted attention at home and abroad for his unique style, and has become the leader of a new generation in the modernization reform of Chinese painting.