自从提出民族艺术要“推陈出新”的口号以来,五、六十年代的一些老画家,都曾努力在这个“新”字上作文章。然而,要做到这个“新”字,确实是件十分不容易的事。二十年过去了,一些中青年画家成长起来了。他们大多数人都是在美术学院受过专门训练的。他们有写实的工夫,又有较新的思想,使中国画为之改观。他们的画有时代气息,即使是古典人物题材画,也赋于新生命。在中国画“创新”的浪潮中,同时反映出对“新”字的不同理解。归纳起来,不外乎这样几点:1.他们感到民族传统太陈腐了,传统只能束缚 Since the proposition of national art to “promote innovation,” some of the old artists in the 1950s and 1960s have tried their best to make a fuss about this “new” word. However, to do this “new ” word, is indeed a very difficult task. Twenty years later, some young and middle-aged painters have grown up. Most of them are specially trained at the Academy of Fine Arts. They have realistic time, newer ideas and make Chinese paintings change. Their paintings have the flavor of the times, even classical paintings, but also endowed with new life. In the wave of Chinese painting “innovation ”, at the same time it reflects the different understanding of “new ”. To sum up, nothing more than these points: 1. They feel the national tradition is too old, the traditional can only be tied