陕西油画在六、七十年代确也曾有过自己的辉煌。以蔡亮为代表的陕西画家所创作的“八一五之夜”、“我要当红军”、“延河水”等一大批作品,在当时的中国美术界名噪一时,占有举足轻重的位置。自七十年代中期后,陕西油画却出乎寻常地落在中国油画艺术发展的末端。近三十年间,陕西油画既没有在全国范围内推出自己确有份量、确有影响的画家及其作品,更没有形成自己作为群体的强有力的独特风貌。在历次全国大展中陕西油画总是被置其后,观者难得趋步近前重视,问及观感时对陕西油画几无印象;专家学者就全国油画艺术发展的态势而不得不论及陕西时,也往往几笔带过,全无重书之可能。一个偌大的画家群体竟如此被忽略、被冷落,其处境确有几分尴尬。本文拟就陕西油画的现状及存在问题,作一些初步的探讨。 Shaanxi oil painting in the sixties and seventies indeed had its own glory. A large number of works such as “The Night of August 15”, “I Want to Be the Red Army,” “Yan River,” by Cai Liang, represented by Cai Liang, occupy a pivotal position when the Chinese fine arts world was famous. Since the mid-1970s, Shaanxi oil painting has dropped beyond the ordinary end of the development of Chinese oil painting. In the recent three decades, Shaanxi oil paintings have neither launched their own authentic and influential painters nor their works throughout the country, nor have they formed their own powerful and unique style as a group. In the past national exhibition in Shaanxi oil painting has always been set aside, the viewer rarely approached the value of rare, when asked about the perception of impression of Shaanxi oil paintings; experts and scholars on the development of the national oil painting situation and have to talk about Shaanxi, Often brought a few pen over, no heavy books may be. A huge group of artists was so neglected, left out, the situation is indeed a bit embarrassed. This article attempts to make some preliminary discussions on the current situation and existing problems of Shaanxi oil painting.