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培智先生的作品给人的第一感觉就是厚重而朴实,浓烈的色彩反射出的是一种中国文化的淳朴和庄严。自从油画传到中国,它的技法、布局及人们对色彩、光线的理解可以说颠覆了中国传统的绘画理念。20世纪上半叶,张大千、徐悲鸿等在中国传统绘画中加入了西方绘画的技法,使中国画为之一变,在保存了原有的深远意韵的同时又具备了事物的合理性,又有赵无极、吴冠中等在油画中加入了中国画的审美理念,真正形成了“中国油画”的概念。
The first impression that Peizhi’s work gives to people is that they are thick and simple, and the strong color reflects a simple and solemn Chinese culture. Since the oil painting reached China, its technique, layout and people’s understanding of color and light can subvert the traditional Chinese painting concept. In the first half of the 20th century, Zhang Daqian and Xu Beihong joined traditional Western painting techniques in Chinese traditional painting. As a result, Chinese painting changed into one. While preserving the original meaning of things, it also possessed the rationality of things. Zao Wou-ki and Wu Guanzhong joined the aesthetic concept of Chinese painting in oil painting, and truly formed the concept of “Chinese oil painting.”