论文部分内容阅读
孙:前不久在广州召开的“走向二十一世纪的中国当代水墨艺术”研讨会具有较高学术水平。我以为你们都在谈进入当下的问题,谈文化身份问题,谈中心与边缘的问题。尽管你们口头上不大使用后现代这个词,可理论背景却是一种后现代视野。这使我感到,有必要将水墨画放在一个整体性的理论背景下来思考,因为从前现代、现代、后现代三种不同的理论视野出发,可以较为清楚地把握水墨画的发展脉络,并发现问题、清理思路,使水墨画改革的推进找到一种新的契机和突破口。
Sun: The seminar “Contemporary Chinese Ink Art Towards the 21st Century” held in Guangzhou shortly before has a high academic standard. I think all of you are talking about entering the current issue, talking about the cultural identity issue and talking about the center and the periphery. Although you do not use the word postmodernly verbally, the theoretical background is a postmodern perspective. This makes me feel that it is necessary to think of ink-and-wash in the context of a holistic theory because the development context of ink painting can be clearly grasped from three different theoretical perspectives of the pre-modern, modern and post-modern era, Clear up the thinking, so that the ink painting reform to find a new opportunity and breakthrough.