2.中国油画怎么办 What is the Future of Chinese Oil Painting

　　赵力：在“大路朝天”系列里，你借鉴了彩砖、墓室壁画的方式，使用了一些佛像语言，比如佛手佛脚。我从画面中读到的是世俗生活和佛教符号的结合，这种现世生活和佛教彼岸之间的关系，你作何理解?

　　Zhao Li: In the series of “A Broad Road toward Sky”, you used encaustic bricks and murals in coffin chambers as references as well as some language in Buddhist images, such as Buddha’s hands and legs. What I read in the paintings is a combination of common life and Symbols of Buddha. So what’s your understanding of this kind of relationship between this life and that Paradise?

　　肖红：是北方农村生活给我的触动。北方农村，尤其到了夏天，艳阳高照、懒洋洋的，劳作也是在缓和、不紧张的节奏中进行。我把这种状态以及敦煌壁画里的世俗画面改造了一下，同时也是想画井田的东西。

　　Xiao Hong: It was the life in the northern countryside that touched my heart. In the northern countryside, especially in summer, the sun shines high and leisurely so that even farmers work in a slow and relaxing rhythm. I reformed this state and the scenes of common life in Dunhuang fresco, and also I wanted to paint something about the well-field.

　　赵力：这样看来，之前的结构性考虑到了这个阶段带有了符号性的考虑，比如井田或者佛像，包括祥云的表现，带有构成性，又与现实穿插。从绘画角度来说，我觉得你是用比较单纯的方式去表现。这段时间，也有一些艺术家开始这么做，比如尚扬。当时你，包括你身边的艺术家都在想些什么问题?

　　Zhao Li: It helped to explain that your previous focus on structure developed into a focus on symbolic meaning in this phase, such as the well-field or Buddhist images, and the expression of lucky clouds as well; they not only showed a characteristic of constructivism but also interweaved with reality. In terms of painting, I think you used a simple expression. Some other artists also began to do so during this time, such as Shang Yang. So what were the questions you and the artists around you thought about at that time?

　　肖红：技法上考虑更多，也走了走构成主义，但还是在技法、风格上考虑更多。

　　Xiao Hong: I thought more about technique and adopted constructivism, but still technique and style were more of a concern.

　　赵力：一个是技法，我觉得还有一个考虑是油画语言在中国的问题。要脱离西方，又要在现代范围里考虑油画语言的改造和建构，要有中国的感觉。

　　Zhao Li: One question is about technique, and I think another question is about the language of oil painting in China; it not only needed to be separated from western influence, but also to be reformed and constructed within the scope of being contemporary, and to show a feeling of China.