在一 个阴雨的 夏日里, 跟随胡悌 麟教授走 进他的画 室。六十 二岁的画 家脱掉被 雨水淋湿的T恤衫,光着膀子翻弄出一幅幅大大小小的油画,娓娓道来,如数家珍。那神情和动作很象手工作坊里初得真传、刚刚出师而踌躇满志的青年学徒,话语中既充满丰富深刻的创作感悟与哲理洞见,又不时流露出对艺术奥秘的虔诚憧憬与困惑之情。 早在五十年代末就跻身于中国油画家行列的胡悌麟在“文革”前就有相当数量的作品参加全国和全军美展,其中如《三下江南》、《旗开得胜》等作品均展示出画家驾驭大场面历史题材的纯 On a rainy summer day, follow Professor Hu Yonglin into his studio. Sixty-two-year-old painter took off the rain-soaked T-shirts and smiled barely out of large and small paintings of varying sizes. That look and action is very much like the beginning of artisanal workshops in hand workshops. The young apprentices who have just begun to work with great ambitions are full of rich and profound creative insights and philosophical insights, and from time to time show their pious vision and confusion about the mysteries of the arts. As early as the late 1950s, Hu Lintao, who ranks among the Chinese oil painters, had a considerable amount of works before the “Cultural Revolution” at national and military art exhibitions. Among them, such works as “Three Times Jiangnan” and " Control the history of the scene of pure scenes