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我是在1982年踏入理论和批评领域的。那时,《美术》发出“征文启事”,我即以《试谈造型艺术的美学内容》一文应征。一个月后得到稿件采用通知,两个月后文章发表出来,3个月后我即被邀请参加全国美术理论讨论会。这件事扭转了我的人生航程。此后,“理论家”这个头衔就被我一直名不副实地“顶”到现在。记得刚刚踏入这一领域的时候,我就曾谨慎地向一位理论长者请教过“艺术真理是否唯一”这样一个问题。因为在我看来,这个问题事关重大,它是我思考所有艺术问题的起点。但事实上在当时是不可能获得一个否定性的答案的,因为哲学的一元不可能导引出艺术的多元。独尊唯物主义的哲学观只能导引出现实主义的一统天下。因此,直到二十多年之后的现在,“多元”这个概念仍然停留在民间话语的层面,官方文件中从没有出现过艺术可以“多元”的允诺。官方只认可艺术的“多样”,但风格意义上的“多样”与观念意义上的“多元”是不可同日而语的。问题的复杂性在于,承认艺术多元的合理与合法,就意味着承认艺术家在艺术上自由选择的合理与合法,意味着
I entered the field of theory and criticism in 1982. At that time, “Fine Arts” issued a “solicitation of an essay,” and I immediately referred to the article entitled “Aesthetic Content of Plastic Art”. A month later, the manuscript was adopted and the article was published two months later. After three months, I was invited to participate in the National Art Theory Symposium. This thing reversed my life voyage. Since then, the title “Theorist” has been “unopposed” by me to the present. I remember when I first stepped into this field, I had conscientiously asked a theoretical elder the question “is art truth unique?” Because in my opinion this issue matters, it is my starting point for thinking about all the art issues. But in fact it was impossible to obtain a negative answer at that time because the unification of philosophy could lead to the pluralism of art. The philosophical view of materialism can only lead to the domination of realism. Therefore, it is not until twenty years from now that the concept of “pluralism” remains at the level of folk discourse. There have never been any promises that art can be “pluralized” in official documents. Officials only recognize the “diversity” of the arts, but the “diversity” in the sense of style and the “pluralism” in the sense of concept are out of the ordinary. The complexity of the problem lies in the fact that to admit that the pluralism of art is reasonable and lawful means to admit that the artist is free to choose art in a reasonable and lawful way,