寒来暑往,新千年里第二个新年已经来到,〖美术家〗栏目在这里向诸位读者和美术家问好。 20世纪已渐渐远去。回首百年,中国美术的发展所经历的沧桑变革依然历历在目。多少世纪风云人物、宗师人家不断崛起,先后成为中国美术发展的有力推动者和历史证人。从本期外始,〖美术家〗增设[时代人物]专栏,将陆续介绍中国当代美术领域的一有影响的人物,旨在保存历史,观照现实,启示后来。读者通过张晓凌 士的访谈录,便可更深地了解王朝闻先生和他的历史影响。 今天,近百年里关于中西绘画的论争依然余音袅袅。尤其在中国美术界仍然记忆犹新的85新潮以后,现代水墨画风在中国画这棵大树之侧别发新枝,似乎以另一种姿态与中国画的古典传统叫板。当然,新时代中国美术发展的开放态度和繁盛景象足以容纳齐放的百花。在物质和观念都处于大变动的时代,古老的、新生的事物都可获得其发展的足够空间。关键在于:生命的永恒或昙花一现,都需要在时间的延伸中经过选择而僻得出答案。 [小期名家]所介绍的两位画家——聂危谷和王春江,分别是现代水墨画风和新文人画派阵营中的后生人物。两位画家的作品从画幅尺寸到题材、造型、笔墨所展示出的观念、情怀和境界的差别,再次给我们提供了一个方便的参照,或许能引发出我们对中国美术,甚至中 Cold and summer, the second new year in the new millennium has come, 〖Artists〗 column here to you readers and artists say hello. The twentieth century has faded away. Looking back a hundred years, the vicissitudes of the Chinese art experience are still vividly undergone. How many centuries man of the times, master the rise of people, has become a powerful promoter of Chinese art development and historical witness. From the outset of this issue, the artist has added a column entitled “The People of the Times”, introducing one influential person in the field of contemporary Chinese art in succession, aiming at preserving history, observing reality, and enlightening later. Through interview with Zhang Xiaoxing readers can learn more about Mr. Wang Chao Wen and his historical influence. Today, the controversy over the past century about Chinese and Western paintings is still awaiting. Especially after the new trend of 85 still remembered by the Chinese fine arts world, modern ink painting style made a new twist on the side of Chinese painting this tree, which seems to be in another gesture against the classical tradition of Chinese painting. Of course, the open attitude and the prosperous scene of the development of Chinese art in the new era are enough to accommodate the blossoming flowers. In an age when both matter and concept are in flux, ancient and newborn things have enough room for their development. The point is: the eternal or ephemeral nature of life needs to be answered in isolation from the stretch of time. Two painters introduced by [Xiaoyi Mingjia], Nie Wei Gu and Wang Chunjiang, are the posterity of the modern ink painting style and the new literati school respectively. The difference between the two painters’ works ranging from frame size to themes, shapes, and brushstrokes provides us with a convenient reference again, which may give rise to our understanding of the relationship between Chinese art and even Chinese