进入90年代的今天,艺术的发展问题及当代的艺术观念似乎变得越来越模糊,越来越混乱。人们的思想观念很难与迅速发展的世界相适应,于是人们开始不断地寻求新的突破点,西方人把他的价值观念座标悄然移向东方,而东方人则把它的价值观念混同于西方,于是在这个世纪的末叶便出现了我们这一代。 在中国人中关心人类艺术的终极问题已成为了传统,这和德国人有些相似,但中国人强调的方法与西方人不同,中国人强调“顺应天命”,主张“天人合一”,认为艺术的人生为终极问题,是在“虚静”、“空灵”中得以精神上的解脱,而西方则是在全部的“理念”、“逻辑”的思辨中以实的方式来解决人与自然的问题,并试图在丰富的物质中得以自由。解脱也好,自由也好,无非是我们人类都希望有一个无拘无束的正常状态,也就是我们中国人常说的“得道”,在清静无为之中体验自己的艺术及生命本身的意义。然而在这个信息、系统、消费性的商业世界中,中国人自身的传统魅力似乎早已 Into the 90’s today, the development of art issues and contemporary art ideas seem to be getting blurred, more and more chaotic. People’s ideology is difficult to adapt to the rapidly developing world, so people begin to constantly seek new breakthrough points. Westerners quietly shift their values ​​and coordinates to the East, while Orientals confuse their values The West, so in the end of this century there will be our generation. The ultimate problem of caring for the human arts among the Chinese has become a tradition, somewhat similar to that of the Germans, but unlike the Westerners, the Chinese emphasize “conforming to God’s destiny” and advocating “harmony between man and nature” The life of art is the ultimate problem, which is the spiritual relief in “the quietness” and the “etherealness”, while in the West, it is the real way to solve the problem of man and nature in the whole “philosophy” and “logic” And try to be free from the rich material. Freedom or liberty is nothing more than a normal state of humankind’s desire for an unfettered normalization of what we Chinese often call “enlightenment,” and to experience the meaning of our own art and life itself in a quiet manner. However, in this information, system, and consumer business world, the traditional charm of the Chinese itself seems long gone