对于空间和时间的态度,很大程度上就是我们对待文化的态度。如空间:西方海洋文化的外向拓展与中国稻作文化的内在固守;如时间:西方的公元纪年如箭离弦,一发不收。中国的干支纪年如日月轮回,生生不息。在笔者之前的相关论文和美术评论中是这样理解这个问题的:断裂的文化层面可以说明单向维度发展模式的局限,埃及、两河流域、印度皆为例证。而当文化发展处于某个平台期,或者在外来文化冲击和影响下形成的梯度上行,从历史的截面来看,形成了阶梯式发展模式。但梯度发展 The attitude toward space and time is, to a very large extent, our attitude towards culture. Such as space: the outward development of Western marine culture and the inherent sticking of the Chinese culture of rice culture; such as time: Western AD years such as the arrow from the string, do not receive a hair. China’s cadres and counties, such as the Lunar New Year reincarnation, endless. This issue is understood in my previous related essays and art commentary: The cultural dimension of the fracture illustrates the limitations of the unidimensional dimension of development, exemplified by Egypt, the two rivers, and India. When the development of culture is at a certain platform or the gradient formed under the influence and impact of foreign cultures goes up, the development of a stepwise model has been formed from the perspective of the historical section. But the gradient of development