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前些天,看了一本金克木先生写的书——《书读完了》。里而有一段话说得很有见地:“据说二十世纪的科学已经不满足于发现事实与分类整理了,总要找寻规律,因此总向理论方而迈进。……看来越分越细和越来越综合的倾向殊途同归,微观宏观相结合,二十世纪学术思想的桅尖似乎已经在望了。”这是金老在三十年前的判断,是对知识和学科发展的判断,同时也是一个人的见识与格局,或曰“境界”。那么,对于一个艺术家,境界与格局是否重要呢?答案显然是肯定的。作为艺术家的郑忠具备一种宏阔的境界,这种境界既是艺术造诣的高妙,也是对艺术的前瞻性判断。
A few days ago, I read a book written by Mr. Jin Kemu - “The book is finished.” There is a passage in which is very insightful: “Twentieth-century science is said to have been content with discovering facts and classifications, always looking for laws, and thus moving toward theory ... With the trend towards more and more comprehensive integration of all things under the same goal and with the combination of micro and macroeconomic perspectives, the masthead of the academic thinking in the twentieth century seems to be already in sight. ”This is a judgment made by King Kong 30 years ago and a judgment on the development of knowledge and disciplines, At the same time is also a person’s knowledge and pattern, or saying “realm ”. So, for an artist, the realm and the pattern is important? The answer is clearly yes. Zheng Zhong as an artist possesses an ambitious realm that is not only the art of attainments but also the forward-looking judgment of art.