“国都灭了,能有家吗?”近代的中国社会,亦如老舍在《四世同堂》中所描述的那般,沉闷、黑暗、可怜。家国之痛、沦亡之悲,动心怵目,民族的生存危机前所未有。艺术家的生存也陷入了一种尴尬的境地,田园将芜,家乡被毁。甚至,人们还时常将艺术视为有钱人家的吗啡针、鸦片烟、椰子酒……醉歌于清高快悦的黄金之宫,逍遥于玲珑神秘的象牙之塔,作睡床茶后的消遣玩意儿……在这样的形势下,他们是保持沉默还是提笔抗争?尽管, “The country is off, can have a home?” Modern Chinese society, as Lao She described in the “four generations of the same,” boring, dark, poor. The pain of the country, the tragedy of beheading, tempted, unprecedented national crisis of survival. The survival of the artist is also embarrassed. The pastoral fields are dwindling and their hometown is destroyed. Even people often think of art as a rich man’s morphine needle, opium, coconut wine ... drunkard in the golden palace of the Qing Gao Yue Yue, Happy exquisite mysterious ivory tower, as a bedtime tea after the pastime ... In such a situation, are they silent or make a pen fight? Although,