当下,在许多青年油画家流行的魔幻现实主义的创作中,现成影像的挪用促使他们专注于图像非现实境遇的戏剧性的剪辑与制造,而相对忽略了作为油画艺术独特魅力的油性质感的表现。当这些具有图像效果的油画印刷在出版物上的时候,尚不易觉察出语言方面的问题,但细审这些油画的原作则往往让人大跌眼镜。这些作品油画语言的苍白让人吃惊!作品不仅缺乏画家对于油画色彩关系的理解与创造,而且缺乏油性质感所形成的独特审美意蕴。如果说,当下青年油画家还缺乏对于欧洲油画传统语言的深入理解与研习,那么,当我们整体审视中国油画的百年历程时,也不难发现,中国油画之所以缺乏欧洲油画的纯正性,不仅仅体现在造型与色彩方面的不足,更体现在对油 At the moment, in the magical realist creations popular with many young oil painters, the misappropriation of off-the-shelf images has prompted them to focus on the dramatic editing and fabrication of images in an unrealistic context, while relatively ignoring the oily qualities that make up the unique charm of oil painting. While these graphic-effect paintings are printed on publications, the language problems are not readily detectable, but the subtlety of these paintings is often overlooked. The pallor of the oil painting language of these works is astonishing. The works not only lack the artist’s understanding and creation of the relationship between the colors of oil paintings, but also lack the unique aesthetic connotation formed by the oily texture. If contemporary young oil painters still lack in-depth understanding and study of the traditional European painting language, then when we examine the whole Chinese oil painting as a whole for a hundred years, it is not hard to find that the reason why Chinese oil paintings lack the purity of European paintings is not only Only reflected in the lack of shape and color, but also reflected in the oil