民族特色,现代观念,个性风格相溶合,是当代艺术家在创作实践中追求的共同样式。在创新、发展中国画创作的实践中,应避免两种倾向:一味承袭传统技法程式,不敢越雷池一步,因循守旧;二是丢弃民族传统技法,摹拟西方表现模式,把中国画变成用毛笔在宣纸上的“涂鸦”,实际上是民族绘画的取消主义。读上官超英的花鸟画,一股亲切清新之气迎面而来,这是由于作品体现了作者对中国传统技法的认识、理解和把握,同时也展示了作者对西方现代艺术的平面构成、色彩构成、美学原则的学习、借鉴和吸收。他的作品在接近具象营造中渗透着抽象和意象的处理手段,作者在创作实践中,找到了传统与现代、东方与西方对立统一的辩证关 The combination of national characteristics, modern concepts and personality style is the common style pursued by contemporary artists in their creative practice. In the practice of innovation and development of traditional Chinese painting, two tendencies should be avoided: blindly inheriting the traditional techniques and procedures, not daring to leapfrog one step and unswervingly following the tradition; second, discarding the traditional techniques of the nation and imitating the western modes of expression, On the “graffiti”, in fact, is the cancellation of national painting. Reading Shangguan Chaoying’s paintings of flowers and birds, a cordial and fresh air on the face, this is because the work reflects the author’s understanding of Chinese traditional techniques, understanding and grasp, but also shows the author of the Western modern art of the plane composition, color Constitute, learn the principles of aesthetics, drawing on and absorption. His works infiltrate the abstract and imagery processing approaches in the construction of near figurines. In the practice of creation, the author found the dialectical relationship between tradition and modernity and the unity of opposites between the East and the West