小樣

The development of art is always closely related to the development of society. After the end of last millennium, Chinese oil painting entered a phase in which all sectors bloomed. Realistic oil painting and personalized oil paintings of different genres coexisted in harmony. The latter marked that China oil painting finally started its development with diversity and full freedom.
However in the new era, artworks free of political constrains fell into the chains of market. A prosperous art market in China brought long lasting effect on art creation itself, especially the modern oil painting art. They raise or fall along with the whimsy of market preference. In fact, with the popularity of more and more avant-garde art forms in China such as conceptual art, multimedia art, and even bio-art, oil painting art itself became out-dated for many, yet still there were generations of outstanding artists exploring the regime and bringing excellent works to the world year after year.
藝術的發展永遠無法脫離社會的發展,社會的階段性思潮總是主宰著藝術的形態。千禧年后,多元成為全世界的主題,中國油畫領域呈現出全新的百花齊放的盛況。一方面,由于美協、畫院等機構的存在,一大批體制內畫家仍舊在創作符合主旋律的現實主義油畫作品;另一方面,社會的多元化催生出各種風格、不論流派的更具個人化特征的油畫創作。其中后者,更代表著這個時代的生機與活力。
與85新潮美術不同,進入90年代之后,個人成為了超越集體思潮的存在。很多優秀的油畫家不依附于任何集體風格,而是完全出于個人的審美和思想選擇進行創作。個性化成為最具時代動感的形容詞。而這些個性化的創作中,可以是偏保守的,也可以是很前衛的,可以是追求極致寫實的,也可以是崇尚高度自由的,可以是借鑒西方的,也可以是在中國本土生根發芽的……中國油畫終于走進了一個多元審美、自由發展的時期。

當然,傳承自西方的油畫分類系統總是不會被遺忘,人們依舊會將相似的油畫家進行分類,以便于學術研究時的系統性。比如“新生代”“玩世現實主義”“政治波普”“艷俗藝術”“卡通一代”“新人類”“女性主義”等等。這也無可厚非,即便再具個性的藝術家,也不可能脫離社會、時代去憑空創造藝術。同時,一種個性的崛起也勢必帶來無數的擁護者、追隨者和學習者、模仿者。于是,個性逐漸融入大眾,演化為另一種形式的潮流。
如果按照藝術家的出生時代劃分,這種群體性的特征就會愈加明顯。