念兹在兹——油画“西学中用”维度之探索

关于如何面对西学，本土文化界曾探讨出三种道路：传统派、融合派与西化派。类似的主张在美术界也得到渐次的反映，表现为对中国传统绘画的坚守与创新，或将西方绘画与中国传统绘画语言融合，或将西方绘画做较为纯粹的引进。具体到油画方面，伴随欧洲传统写实风格和现代主义诸流派的引入，逐渐都不同程度的与中国传统艺术发生了融合，成为一大景观。

本土正式自主的引进油画，最早始于国内“兴学”举措时的新式教育，从作为教学科目，到后来大规模的出洋留学，以王悦之、林风眠、常玉为代表的中国第一代油画家肩负了引进新知又继承传统的双重任务。然而，在中西文化广泛交流和艺术多元化的今天，油画领域变化带给我们新的思考和新的思维，同时不可否认的是，在中西文化交流中我们的传统价值观和审美观也随之发生变化。

极具意味的是，文化的改造并非单向。在研习过程中，一方面，中国画家努力掌握着油画技巧，西方美术的观察、表现方法改变、塑造着本土画家; 另一方面，中国本土传统文化也同样改造着油画，这种力量既来自艺术家头脑中自觉的本土文化意识与深潜在血脉中的文化基因，也来自在本土深厚的文化传统。

念兹在兹，中国当代油画如何以自身独特的文化身份进入全球时代，如何利用中国本土文化资源，如何给油画这种源自西方的艺术形式打上中国文化的印痕，如何在学习西方油画的表现技法和艺术精神的同时而不被其同化，如何能够一以贯之中国传统人文特点都是值得认真研究、仔细思考的。

本次展览，由刘权先生领衔，集合了傅强、刘立冬、汪臻、王强、牛蓉、潘雯清共7 位艺术家组成。他们用发展和变化的眼光，思考和探索中国当代油画创作对中国文化的借鉴、融合和意义，多结构、多层面地诠释了自己对传统艺术的吸收与借鉴，将油画艺术的价值给予了更深层次的展望。

With respect to the western culture,there are three different ways to handle it: domestication, integration and foreignization. Similar opinions have been reflected gradually in the art circle, which are manifested in the persistence and innovation of the Chinese traditional painting, the integration of Chinese traditional painting with western painting and the introduction of western painting in an exclusive way. Specific to the western oil painting,it has merged with Chinese traditional painting to varying degrees.

The first formal and independent introduction of western oil painting to Chinese mainland happened in the period of Chinese modern education when the nation promoted learning. The oil painting was taken as teaching subject at first. Later on, Chinese people chose to study abroad on a large scale. The fist generation of Chinese oil painters, represented by Wang Yue,Lin Fengmian and Sanyu, shouldered the dual tasks of introducing western oil painting and inheriting Chinese traditional painting. However,the changes in the art circle have brought us new new thinking and thought today with extensive cultural exchanges and diversified arts. At the same time, it is undeniable that Chinese traditional values and aesthetic conception have also changed in the cultural exchanges between China and the West.

Significantly, the cultural transformation doesn’t happen in one-way.In the course of learning oil painting, on the one hand, Chinese painters learned the skills and the observing and expressing pattern of western fine art influenced Chinese painters; on the other hand, Chinese traditional culture also changed western oil painting because of the painter’s local culture consciousness, the cultural genes deep in veins, as well as the profound local cultural traditions.

Considering the above situation, it is worthy of conscientious study and careful consideration that how Chinese modern oil painting enters the global era with its own unique cultural identity, how to take the advantage of Chinese cultural resources, how to mark the oil painting ,originating from the West, with Chinese culture, how to keep the Chinese tradition while learning the western oil painting skills and art values, and how to inherit Chinese traditional cultures.

This exhibition was led by Mr. Liu Quan, consisting of other seven artists including Fu Qiang, Liu Lidong, Wang Zhen, Niu Rong and Pan Wenqing. They considered and explored the Chinese contemporary oil painting’s reference, integration and significance to Chinese culture. Having interpreted their absorption and reference of Chinese traditional art in a multiple structures and levels way, these artists put forward a deeper prospect to the value of oil painting art.