最初得知王希奇教授创作了巨幅油画《1946》后的第一反应是,这确实是一个非常值得我们用当代艺术语汇来呈现的重大历史事件。因为,无论从那个角度看,“大遣返”这一事件本身所包含的历史信息都是非常丰富和复杂的。但转念一闪,又产生了一种犹疑,担忧这种战争题材的历史叙事被纳入到某种固定的话语框架系统之中。如果是这样,历史呈现的复杂丰富性就会被某种惯常的观念模式所稀释,势必导致历史呈现的苍白无力。看到这幅画,尤其是站在这幅二十 The first reaction after I first learned that Professor Wang Xiji created the huge oil painting “1946” is that it is really a significant historical event worthy of our use of contemporary art vocabulary. Because, from that perspective, the historical information contained in the “repatriation” incident itself is very rich and complex. However, after a change of mind, another hesitation arises that historical narratives of this war theme are being incorporated into a system of fixed discursive frameworks. If this is the case, the complexity of the history will be diluted by a habitual notion of moderation, which inevitably leads to the paleness of history. See this picture, especially in this twenty