民族化问题似乎从油画传入中国伊始,就成了一个争论不休的焦点,但是近一个世纪过去了,油画表现语言的本土转化仍不尽人意,更多的画家认为用油画表现民族风情和现实题材便是“民族化”了,根本没有从中国人的审美眼光和表现手法上去考虑绘画的本体转化。也许是争论的太久和人云亦云的无所适从,近年来,人们对民族化问题好像缺少了耐心和兴趣,谈及的人也逐渐少了起来。然而,耐人寻味的是,就在我们对油画民族化问题有些淡漠的时候,油画界却出现了一些着意于用中国人的眼光和中国人的手法进行创作的油画家,这一点我们通过洪凌和张冬峰的油画风景已有所感受。我们今天就请二位针对自己的风景画谈一下创作经验和体会。 It seems that the issue of nationalization has been the focus of controversy since the introduction of oil painting to China. However, over the past century, the local transformation of the performance language of oil painting is still unsatisfactory. More artists think that the use of oil painting to express national customs and realities The theme is “nationalization”, and there is no consideration of the ontology transformation of painting from the aesthetic perspectives and expressions of Chinese people. It may be arguing for so long and people know everything about it. In recent years, people have seemed less lacking in patience and interest in nationalization issues, and fewer people have spoken of it. Interestingly, however, just as we were somewhat apathetic about the nationalization of oil painting, there were some oil painters who wanted to create works based on the Chinese’s vision and the Chinese. This is what we call Hong Ling Zhang Dongfeng’s oil landscape has felt. Today, we invite two to talk about their own landscape painting experience and experience.