摘要
江苏画刊关于现代艺术的理论探讨已经持续了相当长的时间,探讨所引起的争议基本上源于西方现代艺术实践的蓝本.争议的分歧不仅仅在于对现代西方艺术观念的语义把握,或是美学思潮与形式转换相关联的理论透析,也不仅仅指涉现代艺术的哲学话语或是论及后现代的某些概念范畴.争议的分歧还在于如何求证当代中国绘画艺术的现代精神要义和内涵,以及现代艺术的文化来源诸问题,然而,我们对于讨论稍加关注,就会不无失望,因为讨论除了越争越玄的高论之外,也争来了更多的文字性、名词性的解说与考据.
The theoretical approach to modem arts by JANGSHU PICTORAL has given rise to a good deal of controversy and puzzles. If is very important to approach theory, without harangue. Now Chinese art circle needs correct thought and a fulcrum for creative idea by the century end. In order to go on smoothly this discussion, for one thing, should partake in by both theorists and painters, and for another, should exmhe the cultural backgroud and thinking quality of modem painters in China with calm manner.
出处
《美苑》
CSSCI
1998年第5期7-8,共2页
