在今天的中国美术界,有一部分人很值得我们关注。历史上,他们曾是中国美术所谓的主干。今天,如果我们客观分析与判断,他们也还能算是中国美术的“中坚”。以中国整个艺术家群体作为标尺来衡量,这些人在今天为数已经不多,但他们却因代表了某种体制的意向,在文化上具有了某种影响力,显示了自己在中国美术中较“强硬”的作用。他们,就是被许多人视为“保守”的一群。因为中国特殊的历史,“保守”在艺术中的名声并不好。说到它,人们就会想到艺术中某些“落伍”的思想或“陈旧”的手法。人们习惯地认为,被视为保守的,必定是滞后的、代表了旧的观念 In today’s Chinese art world, some people deserve our attention. Historically, they were the so-called mainstay of Chinese art. Today, if we objectively analyze and judge, they can still count as the “backbone” of Chinese fine arts. Measured by the entire Chinese artist group as a yardstick, these people are few today but they have some cultural influence because they represent the intention of a certain system. They have demonstrated that they are more influential in Chinese art, “Tough” role. They are the group that many consider “conservative.” Because of China’s special history, the reputation of “conservative” in art is not good. When it comes to it, people think of some “outdated” ideas or “outdated” ideas in art. It is customary to think that being regarded as conservative must be lagging and represent the old notion