进入21世纪的当代社会已经走过了十几个年头。在这十几年中,社会生活的方方面面都发生了或显或隐的变化。从某种意义上说,这种变化在当代中国艺术界表现得尤为明显。作为一名美术领域的研究者和创作者,抽身反观则不难发现,任何变化无不证实艺术生产过程中社会理想、学术公知的恒定存在。对于画家而言,他所关注的理想与公知是通过专业技术手段加以呈现的。说到这里,笔者自然地想到了本人当前正在进行的课题~([1])以及研究主体——吴冠中。时至今日,尽管当代中国艺术界对吴冠中存有这样那样的争议,但是所有这些争议都丝毫不影响其作为开一代新风的大师的地 The contemporary society that has entered the 21st century has gone through more than a dozen years. In these ten years, all aspects of social life have undergone significant or insignificant changes. In a sense, this change is particularly evident in contemporary Chinese art circles. As a researcher and creator in the field of art, it is not hard to find out whether the changes are actually confirmed by the social ideals and academic universals in the art production process. For the painter, he is concerned about the ideal and known through professional and technical means to be presented. Here, I naturally think of my current ongoing task ~ ([1]) and the research body - Wu Guanzhong. Even though contemporary Chinese art circles hold such controversy over Wu Guanzhong, none of these disputes have affected their position as a master of the new generation of fresh air