从李铁夫、李叔同等开始,一个多世纪以来,中国油画艺术的创作局面发生了迅猛的变化,中国油画从无到有,再到今天的多元化艺术风格繁荣的局面,无须讳言,主要是向西方学习的成果。同任何外来文化艺术一样,油画自西方传入中国必然面临着被消化吸收、融合的局面,历史已经无数次地证明了这一点,这也就是油画的“民族化”的问题。多年以来,中国油画的民族化或本土化,一直是中国油画界普遍关注的问题,早在1957年,著名油画家董希文先生在他的《从中国绘画的表现方法谈油画中国风》一文中,就明确地提出“油画中国风”的命题。纵观世界美术,现、当代绘画从传统写实主义发展到现在纷繁多样的绘画形式,包含着许多因素,其中最重要的原因是艺术观念的转变,而这种转变是艺术家的审美意 Beginning with Li Tiefu and Li Shu Tong, more than a century has passed since the creation of Chinese oil painting art took place swiftly. There is no denying that Chinese oil painting has grown from nothing to today’s diversified art style. The result of Western learning. As with any foreign culture and the arts, the introduction of oil paintings from the West into China inevitably faces the situation of being digested and absorbed. History has proved this on numerous occasions that this is the issue of the “nationalization” of oil painting. For many years, the nationalization or localization of Chinese oil painting has been a common concern in the Chinese oil painting industry. As early as 1957, famous oil painter Dong Xiwen, in his article entitled “The Chinese Style of Oil Painting from the Expression of Chinese Painting” It clearly put forward the proposition of “painting Chinese style”. Looking at world art, the current and contemporary forms of painting, ranging from traditional realism to the diverse forms of painting nowadays, contain many factors. The most important reason for this is the change of artistic concept, which is the artist’s aesthetic intention