当综合材料绘画由崭露头角发展到蔚然大观时,将其归类、定名,纳入现有的知识体系就势在必行。无论是全国美协为其设立专门艺术委员会,还是各大美院为其开设专业培养方向,都表明了综合材料绘画在制度层面被接纳的程度。然而,就任何一类新兴画种而言,在如何界定及廓清其基本范畴乃至核心概念的内核与外延的问题上仍存在诸多争议之时,试图为其进行类型定名,无疑是一件艰难的工作。因此,综合材料绘画的定名,与众多新兴实验艺术门类相仿,更近于指称某类客观存在的范畴,而非一种排他性的定义。正如亚里士多德所言,“(范畴)自身并不能产生任何肯定或否定”。它仅仅指称了个别性客观对象的存在,却并未实现名称与定义合一的定名,即明确其属差的一类属。在这样一个略显含混的范畴下,作为门类概念的“综合材料绘画”难免蜕变为某种时兴的标签,一种吸引注意的便捷法门,以致泥沙俱下,引发了“材料艺术化”或“艺术材料化”这类担忧。 When the composite material painting has been developed from the budding to the grand occasion, it is imperative to classify, naming and integrating the existing knowledge system. Both the National Art Association for its establishment of a special art committee, or the major Academy for its professional development direction, have shown that the composite material painting is accepted at the institutional level. However, in the case of any new type of paintings, there is still a great deal of controversy over how to define and clarify the core and extension of its basic concepts and core concepts. It is undoubtedly a difficult task to attempt to name its type jobs. Therefore, the naming of composite material paintings is similar to many emerging experimental art genres, much closer to referring to certain categories of objective existence rather than to an exclusive definition. As Aristotle said, “(category) itself does not produce any affirmation or negation ”. It refers only to the existence of individual objective objects, but does not achieve the name of the unity of the definition of definitions, that is, a genus of the genus. In such a slightly ambiguous category, “composite materials painting” as a category concept inevitably transforms into a fashionable label, a convenient and attractive way of attracting attention, which leads to “material artistry” Or “art materials ” Such concerns.