一 在我们的时代,艺术已被视为表现个性的神秘载体,因此,人们往往乐意对艺术自由、灵感和独创性之类的问题高谈阔论,而忽视那些跟创作实践密切相关的具体问题。这种情况也存在于我国的油画界。在这篇文章中,我们不揣浅陋,试图从历史的角度出发,探讨一下油画材料、调色板、表现手段与油画风格之间的关系,同时也牵连触及油画民族化问题。我们认为,这些问题对发展中国油画都是重要的。 众所周知,西方油画传入中国已有四百余年,而从本世纪初起,它迅速发展为我国视觉艺术领域中的一支主力军,有时甚至有压倒其他画种之势。可是,凡在国外观看过西方油画名作的人,都会意识到中国油画依然没有摆脱一股“土气”,看上去缺乏油画本来应有的特质,尤其是缺乏那种光的韵味与笔触的生气,或者说,缺乏“油画味”。 In our time, art has been regarded as the mystical carrier of individuality. Therefore, people tend to be more talkative about such issues as artistic freedom, inspiration and originality, while ignoring the specific problems that are closely related to the practice of creation. This situation also exists in China’s oil painting industry. In this essay, we try to explore the relationship between oil painting materials, color palettes, performance means and oil painting style from a historical point of view. At the same time, we are also concerned with the nationalization of oil painting. We think these issues are all important for the development of Chinese oil painting. As we all know, Western oil paintings have been introduced to China for more than 400 years. From the beginning of this century, however, it rapidly developed into a major force in the field of visual arts in China, sometimes even overwhelming other painting trends. However, those who have watched Western oil painting masterpieces abroad will realize that Chinese oil painting still does not get rid of a “rustic” atmosphere, and seems to lack the qualities that oil painting should have. In particular, it lacks the charm of light and the angry brushwork. Or, the lack of “painting taste.”