百年风云,摇心迷目;扬沙激浪,终有清时。走到今天的中国美术,应该系统梳理已被翻卷得有些凌乱的历史了。从出洋求学西画以图变革的前辈,到向往异邦文明而重自我的后生,到了今天,莫不需要返身回顾为其心性与魂魄奠基的母体文化,否则均难开解故土情结。正是在这一认识前提下,当人们重新审视卫天霖及其艺术之时,许多人会更多地注意他在油画民族化之路上的探索和贡献。同样,身居异国的王健也向人们展现了他以故国心眼观察到的域外风情,并为之投入深沉细腻的思乡之情。反之,我们又该如何近距离地看待曾经与先祖们朝夕不离、而今已显得有些陌生的传统呢?本期[案边点滴]栏目将从“雕漆”这一传统工艺切入话题,希望由此引发切合文化之道的思考,更希望有助于文化建设的务实行动。毕竟,中华民族开拓的文化新局包括了每个个体需要承担的历史责任。 Hundred years of situation, heart-shaking fans; Yangsha waves, eventually clear when. The Chinese art that has come to this day should systematically sort out the history that it has been somewhat torn up. From the foreigners who want to learn western painting from the foreign countries to the revolution of their own, to the later generations who are longing for the civilization of other nations and cherishing their own self, they do not need to go back and review the mother culture which laid the foundation for their heart and soul. Otherwise, it is hard to understand the homeland complex. It is on this premise that when people review Wei Tianlin and his art, many people pay more attention to his exploration and contribution on the nationalization of oil painting. In the same way, Wang Jian, who lives in a foreign country, also showed people the extraterritorial atmosphere that he observed in the minds of the home countries and devoted himself deep and delicate homesickness. On the other hand, how can we take a close look at the traditions that once separated from the ancestors and now seem a little strange? The current issue of “Case Drip” will start from the traditional craft of “carving lacquer” This leads to thinking of cultural adaptation, but also hopes to contribute to the pragmatic action of cultural development. After all, the new culture that the Chinese nation has pioneered includes the historical responsibility each individual needs to shoulder.