潮汕,地理上位于广东省的最东端,以岭东的称谓区别于岭南。当我们把“潮汕”作为一个空间实体来把握时,我们注意到外来文化与本土文化存在着隔绝、包容、和冲突、融合的过程。在美术创作方面,潮人在长期的文化冲突中形成的性格同样体现出内外有别的生存现实。艺术多元化的今天,潮人美术的开放话语首先来自居留广州的潮籍青年画家群,这个与海为邻的族群一旦离开本土,便流露出如同先民出海捕鱼不顾风险的勇猛一面。当时代为美术创作的个性自由提供可能场景时,潮人文化本具的外拓精神,与广东“岭南派”的创新精神一拍即合。居留在广州地区的潮籍青年画家率先介入当代美术的探索行列,并成为推动广东新生美术的主要力量。潮汕本土的画家们更多是秉承传统的岭东人文圆融、机智、自适的一面,虽非安贫乐道但却从骨子里流露出对 Chaoshan, which is geographically located in the easternmost part of Guangdong Province, is distinguished from Lingnan by the appellation of Lingdong. When we grasp “Chaoshan” as a spatial entity, we noticed that foreign culture and local culture have the process of isolation, tolerance, conflict and integration. In the field of art creation, the characters formed by the influx of people in the long-term cultural conflicts also show different living reality both internally and externally. Art diversity today, the opening up of the art of influx of people first came from the Cantonese tide group of young artists in Guangzhou, the sea adjacent to the community once left their homeland, it shows the same as the fledgling of the ancestors to take the fish out of the sea of ​​bravery. At that time, the creative spirit of the influx of people culture provided a possible scene for individual freedom of artistic creation, which coincided with the innovative spirit of Guangdong “Lingnan School”. The young artists in Hong Kong residing in Guangzhou are the first to intervene in the exploration of contemporary art and become the major force in promoting the art of Guangdong’s newborn art. Local painters in Chaoshan are more adhering to the tradition of Lingdong humanistic, witty, self-adaptive side, though not poor but live from the bones of the show