从最早由欧洲传教士携入晚清宫廷,被慈禧斥为“阴阳脸”,到今天天安门上悬挂的主席像为万众瞻仰;从“五四”时期蔡元培倡办“杭州国立艺专”,到徐悲鸿在中国建立系统的油画教学体系,再到20世纪80年代,油画成为重要的一种创作手段;油画在中国这个特定的语境中基本上走完了一个从“陌生”到“高雅”再到“大众化”的过程。这个历程在很大程度上也体现着中国文化的“现代化”追求与“中西文明”碰撞的过程。必 From the earliest by the European missionaries into the court of the late Qing Dynasty, was Cixi denounced as “yin and yang,” Chairman of Tiananmen Square today like to pay tribute to all; from the “May Fourth” period Cai Yuanpei advocate “Hangzhou Arts and Crafts” to Xu Beihong set up a systematic oil painting teaching system in China. By the 1980s, oil painting became an important means of creation. In the specific context of China, oil painting basically went from “strange” to “elegant” to “Popular” process. To a large extent, this process also reflects the process of the collision between the “modernization” of Chinese culture and “the civilizations of China and the West.” must