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在当今美术界,大家对华夏的名字并不生疏,直到不久前,他才从《美术》杂志主编的岗位上退下来。可是,对这位自50年代以来一直辛勤地工作在编辑岗位上的老同志在美术理论方面的成就建树、学术品格和人格风范,大约除老同志外,很了解的并不多。回忆我最早见到他是1985年在《中国画》编辑部召开的一次座谈会上,对众说纷纭的中国画“末日论”,他的态度虽然是明显的不大赞同,却出言慎重。直到90年代方有较多接触。这位老同志给我的印象是:坦诚、热情、直爽、理论修养深,思维逻辑缜密,使命感强,在他认为是原则的问题上决不马虎。坚持原则这一点我很佩服,当今商品经济的甜汁渐渐渗透到社会生活各层面的时候,许多人(包括我)在这一点上好像都不那么硬气了。
In today’s art world, everyone is not unfamiliar with the name of Huaxia. Only recently did he retire from the post of chief editor of Art magazine. However, this old comrade who has been industriously working in editorial positions since the 1950s has made much achievements in the field of fine arts theory, academic character and personal style, and knows little about the old comrades. Memories of the earliest I saw him in 1985, “China Painting” editorial department held a forum on the controversial Chinese painting “Doomsday theory”, although his attitude is obviously not agree, but cautious. Until the 1990s there was more contact. The old comrade gave me the impression that frankness, enthusiasm and straightforwardness, profound theoretical accomplishments, careful and logical thinking, strong sense of mission, and no sloppy questions on what he considered to be principles. I adhere to the principle of admiration. Nowadays, as the sweet juice of the commodity economy gradually infiltrates into all aspects of social life, many people (including me) do not seem to be so hard on this point.