不久前,我们一群人在北京聚会讨论吴大羽先生的艺术.吴冠中先生说,吴大羽艺术的长期被忽视、被埋没,在现代中国是一种应该引起我们深刻反省和深刻思考的现象,这现象可以称之为“吴大羽现象”.我们之所以用“现象”这个词来概括这类事件,因为它有普遍性,涉及的艺术家不是一位两位,而是相当一批.大致上说,从30年代到80年代初,除了我们主流意识形态承认和接受的画家之外,有相当一批有才能和有造诣的画家被人为地拒之于门外.当然,在主流意识形态接受和认可的画家中,命运也很坎坷,因为我们那时坚持的意识形态往往发生难以预料的变化,常使忠实于它的人有灭顶之灾(如“文革”期间).当然,另外一批画家,即在那时被社会排斥贬抑的画家的生活就更惨,他们常常受到非人的待遇.今天,我们坐下来讨论沙耆先生的艺术,说实话, Not long ago, a group of us gathered in Beijing to discuss the art of Mr. Wu Dayu, and Wu Guanzhong said that Wu Dae-uu’s art has long been neglected and buried in modern China, a phenomenon that should arouse our profound introspection and profound thinking. This phenomenon We can call it “the phenomenon of Wu Dayu.” The reason why we use the term “phenomenon” to summarize such events because of its universality and the fact that the artists involved are not two but a rather large number. In general, From the 1930s to the early 1980s, aside from the painters recognized and accepted by our mainstream ideology, a considerable number of talented and accomplished painters were artificially rejected by the public. Of course, in mainstream ideology, acceptance and recognition The destiny is also very bumpy, because the ideology we insisted on at that time often experienced unpredictable changes that often put an end to the people loyal to it (such as during the “Cultural Revolution.” Of course, other artists, That is to say, the painters who were socially repulssed and belittled at that time were even more miserable and often subjected to inhuman treatment. Today, we sit down to discuss Mr. Shaqi’s art, to be honest,