从送京的72幅作品看,我们已无法用单一的概念来描述“川美”及重庆油画的创作倾向。但从比较中可以看出,这里的画家仍然有自己的特点,首先是比较看重手绘性,综合材料使用甚少,只有蒋建军《记忆之维》一幅属材料作品。制作性较强的作品也不多见,其中罗中立的《吹灯》、忻海洲的《镜子》、张杰的《城市板块》、赵青的《大雕像》、秦旺才的《天籁》等作品有突出的材 From the 72 works sent to Beijing, we can no longer use a single concept to describe the creative tendency of Chuan Mei and Chongqing Oil Painting. However, it can be seen from the comparison that the painters here still have their own characteristics. The first is the emphasis on hand-drawnness and the less use of synthetic materials. Only Jiang Jianjun’s Memory Dimension is a piece of material work. Works such as Luo Zhongli’s “Blows”, Xin Haizhou’s “Mirror”, Zhang Jie’s “Urban Plate”, Zhao Qing’s “Big Statue” and Qin Wangcai’s “Teana” and other works With prominent material