论文部分内容阅读
本期我们向大家介绍的艺术家,无论是在上世纪做出贡献的前辈,还是在今天活跃于各界的俊杰,其文化追求和价值取向可以分别为两个主要的方面,一个是融合中西,或学西法以立足于今日,一个是标榜正统,或研古法以立品于当代。其实,环顾当今中国美术界,这种局面正是当前中国文化景观的典型,而且它构成了当代中国文化建设中不可忽视的基本状况。这种局面是一个多世纪的历史造成的,也是今天的中国社会现实促成的。其中的第一个方面虽然有越演越烈的趋势,但是我们应该看到第二个方面的出现及其发展势头却是改革开放以来才逐渐形成的。未来的中国美术何去何从?我们希望以历史的眼光对现实的局面继续观察下去,只有历史才会告诉我们答案。
In this issue, the artists we introduce to you, whether it is the predecessors who contributed in the last century, or the outstanding people who are active in all walks of life today, can pursue two main aspects of their cultural pursuit and value orientation: one is a fusion of Chinese and Western cultures, or To learn from the West based on today, one is advertised orthodox, or to study the ancient law to establish the product in the contemporary. In fact, looking at today’s Chinese fine arts world, this situation is the typical example of the current Chinese cultural landscape and it constitutes the basic condition that can not be ignored in the contemporary Chinese cultural construction. This situation is caused by more than a century of history and is also contributed by the reality of today’s Chinese society. Although the first aspect of this trend has become more and more fierce, we should see that the emergence of the second aspect and its momentum of development have taken shape since the reform and opening up. Where will the future of Chinese art go from here? We hope that the historical situation will continue to be observed. Only history will tell us the answer.