曹玉林(以下简称曹):相对而言,在当代新一轮中国画体格转型的过程中,人物画的成绩是最大的,其转型也较为成功。它不仅已远远超越了上个世纪50年代至70年代在意识形态的主导下,服务于政治功利的素描加笔墨的单一化模式,楔入了艺术本体意义上的深层探索,而且在态势上也呈现出一种从未有过的复杂性和多样性。这其中以总括中西当代艺术之长的高定位,企图不牺牲中国画的水墨特点, Cao Yulin (hereinafter referred to as Cao): Relatively speaking, in the process of the physical transformation of a new round of contemporary Chinese paintings, the figure painting has the most achievements and its transformation is also more successful. It not only has gone far beyond the unique model of drawing, brushing and drawing serving political utilitarianism under the ideology of the 1950s and 1970s, but also wedged the deep exploration in the sense of artistic noumenon, Also showed an unprecedented complexity and diversity. Among them, in order to sum up the high position of Chinese and Western contemporary art, attempting not to sacrifice the ink and wash features of Chinese painting,