论文部分内容阅读
吴冠中先生的画,以及他在华天雪访问记中的自白,引起内地美术界议论的大热潮。有心的朋友邀促我表达看法。我在台北,想到了这个热潮虽然因海峡而隔,但这个议题的溯源(历史)与前瞻(未来),确与共同为中国文化、艺术谋出路的所有中国人有密切的关联。其实,吴先生的画与观点,并不是个别的,更不是偶然的。毋宁说是中国文化现代化一百多年来痛苦求索过程中一直存在的一个派系。简略地说,就是西化派。尽管他们用了多少“民族文化”的标签(他所谓‘挡箭牌’),本质上认定与西方现代主义接轨就是中国艺术的“前途”。这在内地也不只吴先生一人而已。美术新潮以来内地西化的“前卫艺术”多么令人惊讶其变迁之巨之速！台湾更早,从李伸生到六十年代的“五月画会”至今天台湾的装置艺术、观念艺术等。
Mr. Wu Guanzhong’s paintings and his confessions in his visit to China made a big splash in the mainland art circle. Interested friends invite me to express my opinion. I was in Taipei, thinking of the upsurge that although separated by the Strait, the origin (history) of this issue is closely linked with all foreigners (forerunners) and indeed all Chinese who work together to find a way out for Chinese culture and art. In fact, Mr. Wu’s paintings and opinions are not individual, nor accidental. Rather, it is a faction that has always existed in the painful search of more than one hundred years of Chinese cultural modernization. To put it simply, is the Westernization faction. Despite how many “ethnic cultures” labels (what he calls “shields”) they essentially identify with Western modernism as the “future” of Chinese art. This is not just Mr. Wu in the Mainland. How the “avant-garde art” of the Westernization of the Mainland has come to astonish the huge speed of change since the art trendy? Taiwan earlier, from Lee Hsien-sheng to the “May Art Society” in the 1960s to the installation art and concept art in Taiwan today.