油画是来自西方的绘画品种,有着鲜明的异域文化色彩,自明清时期传入中国后,由于受地域文化等诸因素的影响,逐渐呈现出不同的调适策略,并开始具有东方化的特征。对中国人而言,早期的西画东渐并非“内发”性质,油画实际上并没有被当时的统治者和文人阶层所接受。中国人在刚接触西方油画时,除了对其“明镜涵影”般的视像表示惊叹之外,更多的是对其产生某种观念层面的排斥。社会语言学研究表明,当外来文化脱离自身文化语境在遭遇异质文化的抵抗或者在新的人文土壤中成长时,必然会发生位置变异。而这种变异,往往表现为外来文化对本土语言的主动适应,以及本土文化对外来文化的主动消化、吸收与改造。 Oil painting is a variety of paintings from the West with distinctive exotic culture. Since its introduction to China during the Ming and Qing Dynasties, oil paintings gradually showed different adaptation strategies and began to have oriental features due to the influence of regional culture and other factors. For the Chinese, the early Western painting was not “spontaneous” and the painting was not in fact accepted by the then rulers and literati. When the Chinese just touched the Western oil paintings, they were more exclusionary from some conceptual level except that they were amazed at their “mirror shadow” images. Sociolinguistic studies show that when the foreign culture from its own cultural context encountered in heterogeneous cultural resistance or growth in the new humanities, the inevitable place of variation. This variation often manifests itself in the proactive adaptation of foreign cultures to native languages ​​and the indigenous digestion, absorption and transformation of foreign cultures.