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在西方再现理论遭遇全面危机之后,越来越多的理论家将目光投向了中国的意象理论。由于机械复制技术的发明,再现对象外形的任务已经无需绘画来承担。西方绘画由此走向了超现实,走向了抽象。随着数码技术的完善,制作超现实的图像也不再是画家的专利,当代影像技术制作出来的超现实景象,足可以让超现实主义绘画大师叹为观止。抽象的情况也好不到哪去。如果去掉在抽象艺术背后做支撑的精神层面,仅就装饰性的抽象而言,画家并不比电脑更有优势。如果我们将目光转向中国美学传统,绘画的危机就没有这么严重。从传统上看,中国绘画也有强大的再现传统,也有宏大的再现制作,就像我们在各种宗教壁画中所看
After the western reproduction theory encounters the overall crisis, more and more theorists have turned their attention to the Chinese image theory. Due to the invention of the mechanical copying technique, the task of reproducing the shape of the object has become unnecessary without painting. As a result, Western painting became surreal and moved to abstraction. With the improvement of digital technology, the production of surrealistic images is no longer the patent of the artist. The surrealistic images produced by contemporary video technology are enough to make the surrealistic master of painting breathtaking. The abstract situation is not much better. Without the mental dimension of backing behind abstract art, painters are no more advantageous than computers in terms of decorative abstraction alone. If we turn our attention to the tradition of Chinese aesthetics, the crisis of painting will not be so serious. Traditionally, Chinese painting has also a strong tradition of reproduction, as well as grand reproduction, as we have seen in various religious murals