如果从社会意义的“运动”和现实特性的“美术”二者间的关系来观察20世纪中国美术,我们一定不能忽视活动家类型的“策展人”在这段历史中所起的作用。在这方面,陈秋草老人显得分外引人注目,他非常典型地代表了希望以美术来改造中国的那一代人,其多方面美术活动的精神性内核仍是“匹夫有责”的使命感和中国文人的“致用”情怀。很难说今日还有多少中国美术家拥有“文人情怀”,可以肯定的是,当今中国强调以“文人情怀表现人文精神”的美术类院、系实是少而又少。地处中原一隅、相对闭塞的信阳师范学院美术系,在集体亮相时却揭起了“人文精神”这面大旗,用心仍是要实现“为人师表”的承诺。这是民族文化复兴的背景下特有的现象,个中底蕴,意味深长。无独有偶,民族文化复兴的愿望同样体现在军旅画家王阔海笔下的“新汉画”当中,且不论它是不是一个实用的新品种,单是那种激动作者的人文理想就值得人们反复品味。 If we look at Chinese art in the 20th century from the relationship between social “movement” and realistic “art”, we must not neglect the role played by activist-type “curators” in this period of history. In this regard, Chen Qiu-cao’s elderly person is particularly noticeable. He represents the typical generation who hope to transform China with fine arts. The spiritual inner core of various art activities is still the “every-one’s responsibility” mission And “use” feelings of Chinese literati. It is hard to say how many Chinese artists still have the “literati feelings” today. To be sure, there are few and fewer Chinese art academies that emphasize the “humanistic spirit of the literati” today. Located in the corner of the Central Plains, the relatively closed art department of Xinyang Teachers College debuted the banner of “humanistic spirit” when it was unveiled. It is still its intention to realize the promise of being a teacher. This is a phenomenon peculiar to the context of revival of national culture. Coincidentally, the aspirations of the rejuvenation of national culture are also reflected in the “new Han Dynasty paintings” written by the military painter Wang Kuohai, and whether it is a practical new breed or not, the humanistic ideal of the excited author is worth the repeated taste of people.