也许因为我是油画家,每当我观赏姜宝林的中国画作品,总觉得他取法西方的思路与中国油画大师董希文不谋而合:着眼于“中世纪前,印象派后”。不仅如此,宝林对中外古今优秀文化遗产的选择,也象董希文一样,依赖于深入把握中国人的现实生活与审美意识,中国人的气质、思想、感情,中国人喜闻乐见的形式,以创建“时代的、民族的、个性的”绘画为宗旨。在李可染先生开创的充满生命力的山水画派中,如果说贾又福深厚坚实的艺术 Perhaps because I am an oil painter, whenever I look at Jiang Baolin’s Chinese paintings, I always feel that he took the Western idea and the Chinese oil painter Dong Xi Wen coincide: focus on “before the Middle Ages, Impressionism.” Moreover, like most of Dong Xiwen, Baolin’s choice of ancient and modern excellent cultural heritage both at home and abroad relies on a thorough understanding of Chinese people’s real life and aesthetic awareness, the Chinese temperament, their thoughts and feelings, and their favorite form to create “ , Nationality, individuality ”for the purpose of painting. In Mr. Li Keran created a vibrant landscape school, if Jia Youfu deep and solid art