如果把“艺术”的语义作一个模糊的放大,对于人间的生与死,欢喜与悲伤这些共有的思考与情感,是否在艺术家创作思考的开始,“西洋”的表现就已是“先知先觉”了呢?这个回答是踌躇的,人们总是在开始迷失自己时找寻回家的路,作为艺术家个体则更是在迷失、找寻、迷失中成就着自身成长。艺术史的发展也是经过了古典美的超越到种子的无场所性;丧失故乡,场所的绝对缺失到无边界,无言的流转过程,然后,应该又是人生的意识反复,由迷路到发现再到回家或再迷路,从而,由“感伤记忆”到“超越感伤”实现人性与人间的圆满度。 If we make a vague enlargement of the semantics of “art ”, whether the common thoughts and emotions of human life and death, joy and sadness are at the beginning of artist’s creative thinking, the performance of “Western This proposition is hesitant. People always look for the way home when they begin to lose themselves. As an individual artist, they are even more likely to grow in their own way through the loss, the search and the loss. The development of art history is also through the classical beauty of the place beyond the seed of the sex; loss of hometown, the absolute absence of places to borderless, silent process of the transfer, and then, it should be the repetition of life, from lost to find and then to Go home or get lost again, thus, from ”sentimental memory “ to ”beyond the sentimental " to achieve humanity and human consummation.