有关中国画的话题,从来没有像今天这样变得如此沉重。代表纯厚东方文化,有着自身独特传统,且已形成严格的语言范式和话语体系自备一格的中国画,置身当代文化语境是否仍能沉缅于自身独特的承传方式,是否仍能满足于渐进式的前趋理想。那种依伏独特传统,认为中国画是自给自足的,无需渗入异类基因即可实现自身发展进程的理想是否染有某种虚幻的色彩。那种宁愿无视当代文化的多重选择,以牺牲古老话语与当下文化交互促动的可能,也要保持中国画的纯洁操守。甚至越是彻底的本位越具艺术真义的文化理想,虽否带有某种自欺。显然,价值认知的游移、模糊、文化理想的多义与失衡,使置身当代的中国 画创作的审美理想与精神指向的明晰选择,又有了一种迷茫与失落之感。适度的迈进,总是相伴对模糊前景的犹疑。小心谨慎的审视态度,遮掩不住创作者置身当代的茫然与无奈。而对扑朔迷离的当代文化,无奈与旁观,恰也证明着创作者的被动受阻与顽强抵抗。 The topic of Chinese painting has never been so heavy as it is today. On behalf of the pure East Asian culture, with its own unique tradition, and has formed a strict language paradigm and discourse system-owned Chinese painting, exposure to contemporary cultural context can still indulge in its own unique way of inheritance, can still meet Ideal for progressive predecessors. According to the unique tradition of voluntarism, Chinese painting is considered to be self-sufficient, and its ideal of developing itself without infiltration of heterogeneous genes is dyed with some illusory color. That would rather ignore multiple choices of contemporary culture at the expense of the ancient discourse and the current cultural interaction to promote the possibility, but also to maintain the purity of Chinese painting and ethics. Even the more thorough the more cultural ideal of artistic realism, although with some kind of self-deception. Obviously, the ambiguity and imbalance of value cognition’s wandering, vagueness and cultural ideal make the explicit choice of the aesthetic ideal and spiritual orientation of contemporary Chinese painting create a feeling of confusion and loss. Moderate progress, always accompanied by hesitation on the fuzzy prospects. Careful examination of the attitude can not conceal the creators exposure to contemporary loss and frustration. But for the confusing contemporary culture, helplessness and spectacle, it also proves that the creator’s passive obstruction and tenacious resistance.