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在今天,讨论中国画的当代发展并不比讨论“行为艺术”或是“概念主义”更容易,因为在讨论这个题目时我们首先会遇到的问题是:甚至连“中国画”这个概念本身也变得愈来愈模糊,愈来愈缺乏边缘性。80年代中期的中国现代主义运动中,中国画曾经遇到过来自文化叛逆主义者的挑战,而今天这种挑战仍然存在,只不过它不再像“取消论”者的态度那么武断和简单,今天的争论主要是围绕着“本体论”和“媒介论”展开的。在本体论者看来,中国画是一个自足的精神本体(道)和语言模式(结构、笔墨和造型),它有权力和能力与当代文化艺术中的“西方中心主义”抗衡[1];而在媒介论者看来,这种观点所依据的理论逻辑和
Today, discussing the contemporary development of Chinese painting is no easier than discussing “performance art” or “conceptualism” because the first problem we encountered in discussing this topic was that even the notion of “Chinese painting” itself became More and more fuzzy, more and more lack of edge. In the Chinese modernist movement of the mid-1980s, Chinese painting had encountered the challenge from cultural rebellionists. However, this challenge still exists today, except that it is no longer as arbitrary and simple as the “cancellationist” attitude. Today, The debate mainly centered on “ontology” and “media theory”. To the noumenon, Chinese painting is a self-contained spiritual entity (language) and language model (structure, writing and modeling) that has the power and ability to contend with “Western centralism” in contemporary culture and art [1] In the opinion of the mediaists, the theoretical logic on which this view is based