中国当代美术近年来虽在关注现实与心理意向方面有了许多上乘的突破与精彩之作,取得了不少值得嘉许的业绩,但在某种说不明道不清的贯性推力下,某些美术家的作品中所折映出的“视域”仍不够开阔,艺术心胸不是十分博大,这不仅有着人格气质的因素,也有着美术家集群中呈现出的“文化氛围”的因素。美术家自身固有文化的笼罩使许多人的审美趣味与审美指向在作品中表现出对农业环境与山野村景的普遍认同,而对切身所处的都市文明与文化则表现出情感淡漠的倾向。 于是,便有了如下趣象:身居都市、身心浸泡在渲嚣与猛烈动变不止的氛围中的画家们,却持久地关注着流沙荒漠、边疆异域的风物人情。他们往往远足终生只去一趟的地方,便可以展示出一批作品,然后把它们拿到都市里去举办展览与发表。被画的人看不到 Although Chinese contemporary art has made many excellent breakthroughs and wonderful achievements in paying attention to the realistic and psychological intentions in recent years, it has achieved quite a lot of commendable achievements. However, with some unpredictable and inexplicable thrusts, some The “horizon” reflected in the works of the artist is still not sufficiently open. The artistic mindset is not very broad. This not only has the personality qualities but also the “cultural atmosphere” in the artist cluster. Many artists’ aesthetic taste and aesthetic point of view show the general acceptance of the agricultural environment and the mountain village scene by many artists, while they tend to show indifference toward the urban civilization and culture where they live. As a result, they had the following interesting images: Painters who lived in the city and were immersed in the atmosphere of shaming and violent movements persevered in the deserted desert and the exotic customs of the frontier. They often go hiking only one trip trip to place, you can show a group of works, and then take them to the city to hold exhibitions and published. Can not see people who are drawn