材料之于当代艺术本已是无需再讨论的问题,但是由于国内不少专业类院校和机构将综合材料与绘画并置在一起,并以此来谈论绘画教学和创作,使有关综合材料绘画的讨论成为颇具我国“特色”的话题。材料和绘画本是两个对立的概念,而综合材料绘画将两个相互抵牾的概念糅合在一起,无论在概念上还是在实践中,都是一种折中化的处理。“综合材料绘画”这一概念的提出和推广实际是画地为牢之举,它在推动国内当代艺术创作方面所起的作用也非常有限。综合材料绘画在国内之所以依然备受推崇,一方面,源自部分艺术院校和机构既希望赶上艺术发展的快车,又拒绝将更为激进的艺术样式纳入教学和体制内展览之中;另一方面,源自众多相关讨论尚未理清材料进入绘画之于艺术的本质意义,导致我们扭曲了综合材料绘画的功能和作用。材料首要的也是最初的特质应是前卫性,它之所以能够成为艺术,与20世纪初前卫艺术的发生和发展密切相关。德 However, since many professional colleges and institutes in the country put juxtaposition materials together with paintings and use them to talk about painting teaching and creation, making the materials related to comprehensive materials The discussion has become quite a topic of our country “characteristics ”. Material and painting are two opposing concepts, while composite painting combines two concepts that contradict one another, both conceptual and in practice, as a compromise. The proposal and promotion of the concept of “composite material painting” is actually a dwelling on the ground and its role in promoting domestic contemporary art creation is also very limited. On the one hand, art academies and institutions stemming from the desire to catch up with the express train of art development and refuse to include more radical art styles in the teaching and institutional exhibitions; on the other hand, On the other hand, many related discussions have not clarified the essential meaning of materials in painting for art, which leads us to distort the function and effect of composite painting. The first and foremost feature of the material should be avant-garde, its ability to become art, and the early twentieth century avant-garde art is closely related to the occurrence and development. Germany