近年来，关于中国画的前景，很多人杞人忧天，从历史的进程上讲，一个画种出现一些绘画瓶颈，这是事物运行的内在必然。
不同的历史时期，绘画的审美表达其形态和内涵肯定会出现新的美学诉求，或与历史大相径庭，或偏离了中国画的传统。
中国画的审美核心是写意。何为写意?应该说，写意是建立在中国诗学文化之上的一种审美观照。意，是一种诗意、一种文化意蕴、一种生命境界。意， 也有一点哲学和禅意的味道。 如果我们回归到生活本体，写意，又是对生活本质的一种情感化、审美化的笔墨观照。 笔墨，在这种特定的语境下，是一种文化精神。正是从这种意义上讲，没有笔墨，就没有中国写意画的文化气场。
所以说， 中国画的写意性，是由其绘画的诗意性、文化性和生活的本质性所构成的。
写意性的艺术生命力，在不同的时代有不同的审美语境，不同的艺术家又有不同的艺术个性特质，一个新的艺术特质的形成，意味着一个时代新的审美个性的崛起。
今年来，著名国画家朱祖国创作的《鸡家族的故事》等系列画作,仿佛，让我们回归到了中国画的写意本体， 返璞到了中国画的文化精神，让我们重新看到了中国画写意的文化韵律，看到了中国人文精神宽广的审美视野和开阔的心灵维度。 最难能可贵的是，朱祖国的写意，不但没有与现实生活相剥离，而且其源头活水就是他曾经热爱、熟悉又热乎乎的实际生活。
他的画有无穷的生活况味，有着无限的生命想象力，在我看来，这是近三百年来，除白石老人外，真正能得生活之情趣、画意之妙曼和审美之中国亮度的真情之人。
以上我从几个方面谈谈我认识和理解的朱祖国。 实际这并不是一种理论释读，更多的是一种直观和本能。是我读画后的一种涌动、一种心潮。古人卧游得山水之私语，今观画并与祖国心交往之，揽生活之真谛，随性而记，乐万物之融融也。
——评论家罗明标先生
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