今天,我们已然生活在一个图像时代。一方面,我们在日常生活中不得不面对各类图像的生产与消费,它们伴随着科技的进步渗透到我们每个人的生活中;另一方面,我们已习惯通过图像认识事物,认识自然与生活。很多艺术家从以前的直接观看、认识自然,变成了依靠图像了解自然,甚至有艺术家直接依照它们闭门造车,在作品中大量应用各种图像、甚至“二手”图像进行创作。这种图像时代大众的审美泛化和快餐化,使绘画受到巨大影响,图像与绘画的边界逐渐模糊,绘画作品越来越“图像化”、媚俗化、浅表化,原创性和绘画性逐渐退化。因而,在当下,绘画如何对客观对象进行精神与情感的表现,如何正确利用图像,如何合理对待泛图像时代的资源与艺术创作,是值得关 Today, we are already living in an image age. On the one hand, we have to face the production and consumption of various kinds of images in our daily life. They permeate the life of each of us with the advancement of science and technology. On the other hand, we have become accustomed to understanding things through images, life. Many artists, from their previous direct views, became acquainted with nature and became relied on images to understand nature. Even some artists directly made movies behind them and used a large number of images and even “secondhand” images for their works. The aesthetic generalization and fast-foodization of the general public in this era of images have greatly affected the painting, and the boundaries between the image and the painting have become increasingly blurred, and the paintings have become more and more “imaged”, kitsch, superficial, originality and painting Sexual deterioration. Therefore, in the moment, how to draw the mental and emotional expression of the objective objects, how to make the right use of the images and how to reasonably deal with the resources and artistic creation in the era of pan-image is worth to be concerned