当有人宣布油画已属过去时态而不再具有问题时,中国油画却以它的整体势态提出了一个重大问题:如果把精神和语言上纵深掘进的可能性看成是无止境的,那么在油画和泛油画领域中横向开拓的可能性也将成为无止境的。 油画过时论产生的背景是世界性的后现代大潮,艺术媒体大规模地转向了现成品、综合材料、装置、身体、行为、事件、环境、观念……如果这一转化真的可以类比于彩陶落而青铜起,秦篆退而汉隶兴,唐诗衰而宋词盛,宋画降而元画成,那么我们实在没有必要去拼命挽救行将就木的油画。但在我看来,油画进入印象主义后才刚刚进入它的青年时代,现代、后现代在未来的21世纪都属于新兴艺术,所谓“印象主义”已老朽、“现代艺术”已过时、现已进入了后现代时期云云,都是商业暴炒制造的短期神话。浅薄的新奇和深层的创造、“流寇的造反”和高层的变革、骗子的花招和大师的心血一块儿挤进博物馆的惨痛事实,正说明盲目暴炒后现代造 When someone announced that oil painting was past tense and no longer a problem, Chinese oil painting, by its overall posture, poses a major problem: if the possibility of further spiritual and linguistic penetration is viewed as endless, The possibility of horizontal development in the field of oil painting and pan-oil painting will also become endless. The background of the oil painting outdated theory is a global postmodern tide, and the art media has turned to large-scale ready-made products, integrated materials, installations, bodies, behaviors, events, environments and concepts ... If this transformation can really be analogized to painted pottery Falling from the bronze, Qin Zhuan retreat Han Li Hing, Tang poetry decline and Song Ci Sheng, Song paintings down Yuan painting into, then we really do not need to desperate to save the wood painting. However, it seems to me that oil painting has just entered its youth after it entered the impressionism. Both modern and post-modern belong to the emerging art in the 21st century in the future. The so-called “impressionism” has become obsolete and “modern art” is outdated. Into the postmodern era, are all short-term commercial myths. The bitter novelty and deep creation, the revolt of the bandits and the high-level change, the tricks of crooks and the painstaking efforts of masters squeeze into the museum are illustrating the blind stir of post-modernism