假如我们不是把某种艺术形式看作为特定的文化精神的载体,而仅仅看作为传达情感,交流情感的工具,问题便十分简单:为我所用即可,比如说,不管什么器皿能盛酒便行。中国油画的20世纪的漫长的发展历程,便表现了这方面的误导。从引入西欧的模特写生及素描教学系统及方式,到用油画的方式表现劳动人民的疾苦和描绘祖国的大好河山、乃至到“文革”美术。油画的造型方式从来都是被当作工具来看待的。也就是说,油画的内部问题被工具化了,完全手段化了,余下的问题便是如何使用的问题。 If we do not regard a certain form of art as a carrier of a specific cultural spirit, but merely as a tool for communicating feelings and exchanging feelings, the problem is very simple: for what I can use, for example, whatever can be done Row. The long course of development of Chinese oil painting in the 20th century shows its misleading results. From the introduction of the model sketch and sketch teaching system and mode in Western Europe to the painstaking laboring of the working people through painting and the magnificent rivers and mountains depicting the motherland and even to the “Cultural Revolution”. The modeling of oil painting has always been regarded as a tool to look at. In other words, the internal problems of oil painting have been instrumentalized and completely massed, and the remaining problems are how to use them.