当20世纪中国美术这本大书行将合上它厚实的卷帙时,人们不免要向它投去更多追寻的目光。在那些因时光远去而显得斑驳的篇章中,有一片走向西部的身影愈发闪现出与众不同的光采。从40年代开始,一批艺术家不约而同地西出长安,踏上通往西北大地的道路。论经历,他们已早有游学欧陆与了解西方的见识,论成就,他们则更在年轻之时便以名世之作奠立了自己的声名。就在他们艺术上处于得心应手的时刻,他们却不愿固守己成,而走上一条怀抱憧憬并需要身体力行的西去道路。可以相信,他们对自己的艺术状况一定有某种不满足的心理,在思想上期待补充新的营养,也可以相信,他们在经历了对西方的了解与认识之后,更多地意识到需要鲜明地建构具有民族文化性质的艺术面貌,而要达到这样 When the big book of Chinese art in the 20th century is to close its thick scroll, it is inevitable that more eyeballs should be cast upon it. In those chapters that have become mottled by the passage of time, a shadow toward the west flashes more and more distinctly. Since the 1940s, a group of artists invariably went west out of Chang’an and set foot on the road to the Northwest Territories. On experience, they have long been learning the European experience and understanding of the West, on the achievements, they are even more young when they established their own name for the worldly fame. At a time when their art is handy, they are unwilling to stick to their own ways and embark on a path of westward journey that embraces and requires physical exertion. Believe that they must have some kind of psychological dissatisfaction with their artistic condition and look forward to supplementing new nutrition in their thinking. They can also believe that they are more aware of the need for clear understanding after they have learned and recognized the West In order to construct the artistic appearance with the national culture character, we should achieve this