中国艺星网/编发/海羽
Chinese art starnet/spread/sea feather
对中国油画本体发展来说，过去的20世纪是一个引进、学习并自觉把西方油画植入中国大地，并使之生根成长的过程，也是一个外来文化与本土文化相互碰撞和融合，进入自觉创造的过程。
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Complete works "Chinese painter - JinShangYi
For the development of Chinese oil painting ontology, the past 20th century is an introduction, study and consciously put the western oil painting into China, and take root growth process, is also a foreign culture and native culture collision and fusion of each other, into the conscious creation process.
宏观来说，中国的油画艺术作为文化形态的脉络，从一开始就面临东西两种文化交织，交融的复杂状况。中国的油画家不仅要努力学习和掌握欧洲油画艺术精华，又需使之与中华本土文化交流融汇，另一方面，欧洲油画历经600余年的时代变化，而中国悠久文化传统也需适应当代社会生活，各自都存在传统与现代的转换，呈现了丰富多样的艺术现象。对于这门引进的外来艺术如何在两种文化交流碰撞中，使中国油画具有鲜明的本土特质和民族风貌，展现当代中国人的精神世界，成为了油画家艺术探索的理想，从而激发他们的创造活力。中国油画家正满怀热忱，朝向既定目标不懈努力。经过几代油画家的艰辛探索。中国油画已成为当代中国文化的重要组成部分，深得国内大众的喜爱，拥有着广泛的群众基础，全国范围内涉及的从业人员已近数十万之众，处于方兴未艾之势，这正是这门艺术在中国获得迅速发展最重要的原因。
Macro speaking, in the form of Chinese oil painting art as a cultural context, from the start, face things are intertwined, two kinds of culture blend complex condition. Chinese oil painters should not only study hard and master the European oil painting art essence, and the integration needs to communicate with the Chinese native culture, on the other hand, the European oil painting after 600 years of age, while China has a long cultural tradition also need to adapt to the contemporary social life, each of the existence of traditional and modern transformation, presents a rich variety of artistic phenomenon. How it introduced art in two kinds of cultural exchanges between the collision, the Chinese oil painting with distinctive local characteristics and national style, the spirit of the contemporary Chinese world, became a painter and art to explore the ideal, so as to inspire their creativity. Chinese oil painters are full of enthusiasm, toward the goal unremitting efforts.Arduous exploration after several generations of oil painters. Chinese oil painting has become an important part of culture in contemporary China, is deep the domestic public's favorite, has a broad mass base, across the country involved nearly all of the hundreds of thousands of practitioners, is in the ascendant trend, that is the art to obtain rapid development in China is the most important reason.
我的无奈：
在中国，研究西方油画基础和画种的表现力比较深入透彻的画家，我勉强算一个。从对基础的了解，到对画种的了解，再到对西方文化的了解，越深入就越整体。作为油画家，我认识了油画原则的要求和魅力。另外，我清楚地知道什么是好画。好画不在内容，在于表现的高度，这个高度，古典和现代一脉相承。过去，我对这个社会是熟悉的，技术问题解决之后，创造就应运而生。我不了解这个社会了，因为中国发展得太快。虽然如此，我仍然在努力追求，作为画家我能够不断地探索，不服老地继续画，因为我感受到研究的乐趣。
My helpless:
In China, the western oil painting expression and type in the basis of more in-depth painter, I am a reluctant. From the understanding of the basis, to the understanding of the picture, and then to the understanding of western culture, the deeper the more overall. As a painter, I know the demand of oil painting principle and charm. In addition, I clearly know what is a good picture. Good painting is not content, in the height of the performance, the height, classical and modern. In the past, I am familiar with this society is, to solve technical problems, create was born. I don't understand this society, because China is developing so fast. Even so, I'm still trying to pursue, as a painter I can explore unceasingly, refuses to accept the old continue to draw, because I feel the pleasure of study.
回顾自己从早期学习印象派到深入研究古典艺术，再回到印象派的研究，我感觉印象派和后印象派的画家，对运用油画这种艺术形式表现自然、抒发人物内心感受随心所欲，可以说已经达到人类的极致。我作为有中国文人情怀的画家，要达到他们那个时代的高度是不可能的。这是我终身的遗憾。
Review their learning from early impressionists to delve into the classical art, impressionist research again, I feel the impressionist and post-impressionist painter, to use the oil painting the art form of nature, express people feelings follow one's inclinations, has reached the acme of human, so to speak. I have a Chinese literati feelings as a painter, it is impossible to reach the height of their time. This is my lifelong regret.
学习西方，勿忘传统文化：
现在是中国社会有史以来对中国文化了解最少的一个时期，弘扬传统文化和艺术十分必要和迫切！”全国政协常委靳尚谊的忧虑之情溢于言表。
Learning the west, not forget the traditional culture:
Now is the Chinese social history to understand Chinese culture a period of at least, it is necessary to carry forward the traditional culture and art and urgent! "Of the standing committee of the Chinese people's political consultative conference JinShangYi of worry.
靳尚谊分析说，改革开放后，我国受西方经济文化影响日深，生活方式西方化明显，教育领域的传统文化越来越少，人们对我国的传统文化了解越来越少。表现在美术领域，对中国画感兴趣的越来越少，学习中国画的越来越少，相反，学习西方画、雕塑的越来越多。排斥中国的东西正成为文化界的一种不良趋势。
JinShangYi analysis said, after the reform and opening, influenced by the western economy and culture in our country and western lifestyle, fewer and fewer traditional culture in the field of education, fewer and fewer people know about the traditional culture of our country. Performance in the field of fine arts, less and less interested in traditional Chinese painting, learning traditional Chinese painting of less and less, on the contrary, learning western painting, sculpture, more and more. Excluding China is becoming a bad trend of cultural.
他表示，社会越发展，我们的传统文化艺术就越重要，各个领域都要加强中国传统文化教育，中国文学、书画、音乐、戏曲都要加强，让广大群众知道其中的艺术价值。这是个复杂的系统工程，需要很长一段时间。其中最重要的是，这个专业的人应该知道专业的分量，和国外的同类艺术相比较时，增强自信心，不妄自菲薄。
he said, the development of the society, our traditional culture and art, the more important, to strengthen the education of Chinese traditional culture, to every field of Chinese literature, calligraphy and painting, music, drama should be strengthen, let the people know the artistic value. This is a complicated system engineering, need a long time. One of the most important is that this specialty should know the weight of, compared with foreign similar art, enhance self-confidence, not little.
靳尚谊着重指出，我们只有充分掌握自身的文化，才会明白它是多么的宝贵、深刻，才会在中外文化间做出正确的比较和选择。推陈出新，并不是一概否定传统的东西，更应该对传统文化的精髓进行挖掘、继承和发扬。
JinShangYi emphatically pointed out that we only make the culture of their own, would understand it is how precious, profound, will make the correct comparison between Chinese and foreign culture and choice. New, is not totally deny the traditional things, more should be to dig the essence of traditional culture, inherit and carry forward.
