写在专栏之前:每一种文化都有它特殊的情结,甚至每一个领域的每一时段都有那么一个“结”如果说,20世纪中国美术的“结”在“中西”问题上;那么在西方现代美术中,这个“结”恐怕就在“具象=抽象”上,具体地说,在抽象上,在从具象到抽象的转变上,抽象主义在20世纪第二个10年的出现,被广泛地认为意味着整个自文艺复兴以来的艺术规则的打破和全新的艺术规则的诞生因而这件事情非常大,大得成为一个难以拆解的时代之“结”;这件事情非常根本,根本得就像河床的变道,此后流变的风格都如同这个河床里的水流浪花 Before writing in the column: Each culture has its own special complex, and even every time in every field has a “knot”. If we say that in the 20th century Chinese art Then in western modern art, the “knot ” may be on “figurative = abstract ”, specifically, on the abstract, on the change from figurative to abstract, abstract The emergence of the second decade of the twentieth century is widely perceived as a sign of the breaking of the rules of the arts since the Renaissance and the birth of brand new art rules that make it so large that it becomes an era of hard-to-disassemble “Knot ”; this matter is very fundamental, simply like the river bed change, since rheological style is like the water in the river spray