一 画面时空逻辑的转换 本世纪中国美术界的最大震荡也许即是世纪末的最后二十余年。尽管它的续时断,呈此起彼伏的态势涌动而进。然而它对中国“五四”运动以来的视觉传统的冲击,无论是力度、强度或是广泛性上都是前所未有的。1976年之后渐起的青年一代美术家们对于欧美绘画(美术)和小国二、十年代绘画面貌的了解几乎是同时获得的。他们一方面惊诧中国新美术运动本来就几乎与欧美同步;一方面也不得不在中断了数十年后的情势下,饥不择食地奋起直追,创造了参差不齐的“新时期 A picture of the transformation of space-time logic The greatest shock of Chinese art this century may be the end of the century the last two decades. Despite its intermittent break, there was a surge in momentum. However, its impact on the visual tradition since the May Fourth Movement in China was unprecedented in intensity, intensity or universality. The rising number of young artists since 1976 is almost at the same time gaining an understanding of the appearances of European and American paintings (fine arts) and the paintings of the second and tenth decades of small states. On the one hand, they were amazed at the fact that the new Chinese art movement was originally synchronized with that of Europe and the United States. On the one hand, it also had to chase after the rest of the world decades after it had been interrupted and created a patchy "new era