中国的画家们自从“文革”结束后步入现代化,随着宽松的创作环境与西方艺术的接触,由于在长期的文化禁锢中如缺乏营养的人,本来就十分贫血的艺术精神境界一下子有这么多的新奇的艺术之花,反而不知所措。当然,多数画家都不约而同地采取了拿来主义, 将西方所有的绘画流派与形式技法根据需要进行模仿和借鉴。当然,也不免有偏激的一面,主张全盘西化的艺术主张成为某一时期某些艺术家的主导思想,试图以一个流派代替另一个流派。况且市场经济也左右和影响着艺术市场, 艺术家的心态在物欲横流的时代变得浮躁不安。急功近利的思想使不少艺术家恨不能一举成名。 Since the end of the “Cultural Revolution”, painters in China have stepped into the modern era. With the relaxed creative environment in contact with Western art, artists who have been poorly nourished by long-term cultural imprisonment have always had an anemic artistic spirit. Child has so many novel art flowers, but overwhelmed. Of course, most painters invariably adopted the doctrine of fetching and imitating all Western painting schools and formal techniques according to their needs. Of course, it is inevitable that there is an extreme side. The advocacy of the Westernization of art advocates has become the dominant thinking of some artists during a certain period of time, attempting to replace one genre with another genre. Moreover, the market economy also affects and affects the art market. The artist’s mentality becomes impetuous in an era of materialism. The idea of ​​instant success makes many artists can not wait for fame.