说到“融合”,人们对它已耳熟能详,它经常见诸各种专著文章、报刊杂志,其适用面相当广阔,内涵非常驳杂,因此,需要先界定一下本文所要探讨的“融合”范围,它的行为主体和意义无疑要明确、狭小得多.它首先指中西绘画之间的融合,不关涉其他艺术门类;其次,它专指主动地、自觉地在中西绘画之间寻找沟通、结合的可能,并以具体作品展现融合结果的行为.这与那些立足于传统中国画,向世界伸开臂膀,准备着和任何来者握手,对西方绘画持大胆借鉴、吸收态度的画家,在立场和行为上都有很大不同;再次,它指在中国画领域寻求中国画改革创新的一种取向或思路. When it comes to “integration,” people have become familiar with it. It often sees various monographs, newspapers and magazines. Its scope of application is very broad and its connotation is very complicated. Therefore, it is necessary to define the scope of “integration” to be explored in this paper. Is undoubtedly more clear and narrower in its main body of action than the other art categories.Firstly, it refers to the fusion between Chinese and Western paintings, not to other art categories. Second, it refers specifically to the possibility of finding and communicating actively and consciously between Chinese and Western paintings And show the results of the fusion with specific works, which are in line with those who are based on the traditional Chinese painting, open their arms to the world, prepare to shake hands with anybody, and boldly learn from Western painting and absorb their attitudes. Are very different. Thirdly, it refers to an orientation or train of thought that seeks Chinese painting reform and innovation in the field of Chinese painting.