一因西方绘画以学院教育的方式传入中国有近百年了,其间几度兴衰沉浮,也出了一些一流人物和作品,但在文化的核心层面一直是水土不服的,也就是说,在国人的油画中找不到传统精英文化和艺术中斯文高雅的格调。这个问题可以从另一个意味深长的话题中得到“镜像”般的提示,那就是研习西方绘画的艺术家对“水墨画”或日“中国画”的态度,尤其是早期那些留学西洋或东洋回来的艺术家。徐悲鸿原本是带着提升中国画写实能力的目的出去的,立场很坚定,学得也很认真,当他回来以后,重新穿上长衫、拿起毛笔画中国画时,两种风格十分明显:一种是把国画当成油 As a result of the western education in the form of college education introduced to China for nearly a hundred years, during which several ups and downs, also produced some first-class figures and works, but at the core of culture has been acclimatized, that is, Can not find in the traditional elite culture and art elegant gentle style. This question can get a “mirror image” from another meaningful topic, that is, the attitude of artists studying western painting to “ink painting” or “day” “Chinese painting”, especially those who were studying in the early Western Or come back to the Oriental artist. Xu Beihong originally went out with the aim of enhancing the realistic ability of Chinese painting. His stance was firm and his studies were very serious. When he came back, he wore a gown again and took up the brush-strokes of traditional Chinese painting. The two styles were quite clear: Chinese painting as oil