Chinese contemporary oil painting art germinated from the end of 1970s to the beginning of 1980s. The appearance of scar art and local painting broke the unified appearance of the previous art such as "red light"， "tall and complete" and other political services. The art of this period basically adopted western realistic techniques， and reflected the social characteristics and spiritual value of people at that time through detailed description of some specific scenes or expressions of characters， criticism， praise， or reminiscence. The picture is more of a narrative， through "narration" to convey some of the author's feelings， ideas and so on. However， in the 1980s， with the advent of reform and opening up， a large number of western ideological trends and painting styles were introduced into China， and domestic artists began to imitate western art. The styles presented were no longer merely the representation of objective objects. For example， the southwest stream of consciousness， MAO xuhui， pan dehai and others show their inner feelings and unique experience of life by learning the exaggerated shapes， excited colors and passionate strokes of German expressionism. Another example is wu guanzhong， who creatively combines the western formal beauty with the artistic conception beauty in Chinese traditional aesthetics， forming a new system of "natural-form charm" with Chinese national characteristics. Mr. Wu guanzhong proposed the formal beauty of painting and pointed out that art should return to art itself. Oil painting has changed from emphasizing function to emphasizing the language of painting form itself.

I. the relationship between "expression" and "narration" in oil painting creation

"Performance" refers to the means of expression， the way of expression， the process of expression， etc. "narration" refers to the records of characters， scenes， events， emotions and ideas. In the continuous development of oil painting art， the dominant position of "expression" and "narration" has been disputed endlessly. The author thinks that as a kind of visual art， the visual effect produced by the picture must be dominant in the artistic works. Judging whether a work is a good work is not determined by the inner feelings of the subject， nor by the relationship between the work and the reality， but by the visual effect it presents in front of the audience. If a work is only a story or a truth to be told by the subject， the visual experience conveyed by the figure itself will be almost ignored in the process of the viewer's watching， and what is the vision？ The idea of why suppresses the viewer's perception of the laws of the oil painting language itself. The author thinks that "performance" and "narrative" are always indispensable and highly unified for artists. The visual effect of the picture is firmly supported by the subject's emotion. Without emotional narration， the visual effect of the picture may appear empty and pale. However， the narration of the main emotion in the works can give the viewer a display of strength completely depends on the creativity and creation skills of the artist.

Ii. How to combine "performance" and "narrative"

The combination of "expression" and "narration" in oil painting can be simply summarized as various visual effects produced by the images to be recorded through the oil painting material media can be visualized under the artist's creative skills， thus producing art works. For example， the representative work of wu guanzhong， shuangyan， shows the purity of jiangnan scenery in the picture. The black tiles， the white walls， the green dead trees and the flying swallows are all highly refined in the real scene， and nothing is left over. The picture looks simple. There is a lot of blank space in the picture， except for some simple lines and geometric figures. Black and white ash is the main tone of the work， even the color of the trees are calm and simple. The main character appears to be a tall white wall， accounting for two-fifths of the picture. Compared with the white wall， the narrow and long door shows the solemnity and whiteness of the white wall， while the position distribution of the black door adds rhythm to the picture. The lively attitude of the tree， the sharp corner of the upper left corner of the mountain wall and the hazy reflection of the reflection are all set for the white wall with the upright end. It is in this calm picture that two birds fly to break the quiet， in the plane of the painting， sound， for the picture brought breath， brought vitality.

作者簡(jiǎn)介：項(xiàng)堃（1991-01-22），男，漢族，籍貫：安徽省桐城，單位：齊魯工業(yè)大學(xué)（山東省科學(xué)院）。