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思潮流派之于20世纪中国艺术的发展,几乎起到了支配的作用。许多史家也因此把这一百年写成了艺术运动史。就油画而言,中国从20世纪自主引进油画之后,一直摆脱不了中国社会情境对于引进或择取哪种艺术观念的纠结,从写实主义、现代主义到后现代主义,欧美艺术史的这种进化性特征,也一直成为中国油画在本土化进程中不得不参照的一个比对坐标。追逐艺术流派的进化,无形之中也形成了中国油画本土化实践与书写历史的一种思维定式。但中国油画如果仅仅是欧美艺术运动史的中国翻版,那么,这种中国版的艺术复制也会在艺术史的价值上大打折扣。除了潮流的夕涨朝落,中国掌握了多少油画的本体语言,又达到了怎样的艺术水准,是我们不得不追问的一个重要命题。
The development of Chinese art in the twentieth century has almost played a dominant role. Many historians have therefore written this century as the history of the art movement. As far as oil painting is concerned, after the independent introduction of oil paintings in the 20th century, China has been unable to get rid of the tangle of the artistic conceptions introduced or chosen by the Chinese social context. From the realism, the modernism to the postmodernism, the evolution of European and American art history Sexual characteristics, has also become a Chinese painting in the localization process has to reference a comparison of coordinates. Chasing the evolution of the art genre, invisible also formed a practice of Chinese painting and writing history of a kind of thinking. However, if the Chinese oil painting is only a Chinese version of the history of European and American art movement, the Chinese version of artistic reproduction will also be greatly discounted in the value of the art history. In addition to the trend of the ebb and flow of the fall, how much Chinese mastered the ontology language and reached the artistic level, which we have to ask an important proposition.