摘要
当今西方的主流艺术是观念艺术,其中不少是装置艺术和行为艺术,所以有人说,如果按西方的眼光看来,讨论油画已经是一个过时的话题了。而在中国,油画已经形成了一大艺术形式,正与中国传统的国画分庭抗礼,是两大画种之一,并且有力地表达着中国人的情感与生存,具有无穷的生命力。当国际多元文化和全球经济一体化环境的来临,我国文化背景发生重大而又深刻的变革,油画的民族化问题越来越成为焦点,于是,油画的创作便转向了与文化网络相互联系的关注,以本民族意识来对油画艺术进行关照,学习西方油画和油画民族化没有先后之分,它们同时存在于一个过程之中。
Nowadays, the main stream of art in the West is the concept art, in which some of them are device art and behavior art. So some people say that from the viewpoint of western people, the discussion of oil painting is a cliche. However, oil painting has become a major artistic form in China, standing up to the traditional Chinese painting as an equal, one of the two major types of painting, expressing forcefully the affection and existence of Chinese people and its limitless power of life. With the advent of international multi - culture and global economic integration, the cultural background of our country has changed greatly and the nationalization of oil painting becomes the focus gradually, so oil painting creation has turned to peopleg concentration mutually related with the cultural network. Concentration on oil painting with our national sense, studying western oil painting is not prior to the oil painting nationalization. They exist simultaneously in one process.
出处
《黔南民族师范学院学报》
2005年第4期63-66,共4页
Journal of Qiannan Normal University for Nationalities
关键词
油画
民族化
oil painting
nationalization
