九十年代中国最具深远影响的发展,是市场经济取代计划经济。与西方世界的变化相似,科技与经济已经成为新的意识形态。主流文化渠道之外形成了非主流文化渠道。由于油画艺术的西方文化背景,非主流渠道对画家个人往往具有更大的吸引力。意识形态对绘画创作的影响相对减少,而市场对艺术的多重影响却逐渐增大。另一方面,当代文化的多元化使画家面临更加复杂的局面——全球化与民族化、现代与后现代、前卫与传统、雅与俗、个人心绪与人文关怀……不同的画家以自己的作品对这些问题作出了不同的回答。 艺术群体的消解和艺术潮流的淡化,并没有使当代画家分化为互不关联的个体,而是形成了一些不同流向的创作趋势。写实和非写实、主流和前卫这一类二元划分已经不能概括当前中国油画的现实 The most far-reaching development in China in the 1990s is that the market economy replaces the planned economy. Similar to the changes in the western world, science and technology and economy have become the new ideology. Outside the mainstream of cultural channels formed a non-mainstream cultural channels. Due to the western cultural background of oil painting art, non-mainstream channels tend to be more attractive to individual artists. The impact of ideology on painting is relatively reduced, while the multiple effects of the market on art are gradually increasing. On the other hand, the diversification of contemporary culture exposes painters to more complex situations - globalization and nationalization, modernity and postmodernity, avant-garde and traditions, elegance and vulgarity, individual moods and humanistic concerns ... Different artists use their own Works on these issues have made different answers. The dissolution of artistic groups and the desalination of the artistic trend did not divide the contemporary painters into unrelated individuals, but formed some creative trends with different trends. Realistic and non-realistic, mainstream and avant-garde of this type of division can no longer be a summary of the current reality of Chinese painting