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创作方法,在中国文艺理论当中曾经是备受关注的问题;但是近二十年来,无论是出于什么原因,中国当代美术创作领域关注得更多的是所谓创作方式,似乎创作方式决定了创作结果。我们不想否定后者的逻辑,但是我们也不能否定二者的差异,而且我们还要指出,如若无法可依,无法可循,便意味着所谓的创作自始至终很可能是没有根基的。本期介绍的[时代人物]关山月、[本期名家]王冠军,以及近期由于个展的举办而再度引人瞩目的吴长江、陈绶祥,他们的创作面貌尽管很不相同,他们的年龄、资历、身份和社会声誉也相别甚远,但有一点是相同的,即他们自成一体的创作结果都很重视创作方法及其逻辑性的运用。借此为例,我们呼吁当代中国美术界在新的高度上来重新关注和思考“创作方法”问题。
However, in the recent two decades, no matter for whatever reason, the focus of Chinese contemporary art creation is more on the so-called method of creation. It seems that the way of creation determines the creation result. We do not want to negate the logic of the latter. However, we can not deny the difference between the two. We also point out that if we can not follow the rules and can not follow the logic of the so-called creation, it may well be that there is no basis at all. In the current issue, “The People of the Year”, Guan Shan, [the current famous] Wang Guanjun, and Wu Changjiang and Chen Shuxiang, who have recently re-attracted the solo exhibition, though their creative faces are very different, their age There is also a long way to go before qualifications, identities and social reputations can be distinguished. However, one thing is the same. That is to say, they all attach great importance to the creative methods and their logical application as a result of their integration. Taking this as an example, we call on contemporary Chinese art circles to pay attention to and think about “creation method ” again on the new height.