《吴冠中艺术的中国情境》前言

  鲁迅情结的悖论——认识一个进入艺术史的吴冠中

    

   文/ 仝朝晖

    吴冠中的“鲁迅情结”和同时代许多人相似。从表面的艺术风格看，吴冠中艺术隐含着一个悖论：他后来的艺术面目恰恰背离了鲁迅所倡导的美术道路。吴冠中的艺术肯定不是以主题内容和艺术方式来反映现实社会，而是以画家的创作行为和艺术态度介入现代文化和现实问题的，吴冠中在20世纪80年代倡导的“形式美”，超越了单纯审美的意义，而具有一种语言批评和思想启蒙力道。吴冠中艺术始终介于传统与现代，革新与守护的矛盾状态，影响了他艺术探索的纯粹性和深度。吴冠中艺术所辐射的诸多思考，是其艺术具有无法复写的人文涵义之所在，同样也是当下中国艺术在关注的问题。

Lu Xun's paradox of complex—understanding a WUGUANZHONG who entered

 the history of Art

Wu Guanzhong's "Lu Xun complex" is similar tomany of his contemporaries. From the perspective of the superficial artisticstyle, there is a paradox in Wu Guanzhong's art: his later artistic featuresjust deviate from the art road advocated by Lu Xun. Wu's art certainly does notutilize the theme content and the artistic style to reflect the real society,whereas his art uses the painter's creative behavior and artistic attitude tointervene in the modern culture and realistic problems. The "Beauty ofForm" advocated by Wu Guanzhong in the 1980s transcends the simpleaesthetic meaning, and has a kind of language criticism and ideologicalenlightenment. Wu's art is always in the contradiction between tradition andmodernity, innovation and protection, which affects the purity and depth of hisartistic exploration. The vast amount of thinking brought about by Wu’s art isthe reason why his art has the humanistic meaning that cannot be reproduced,and it is also the concern of Chinese art at present.

本文选自《吴冠中艺术的中国情境》前言：仝朝晖著，湖南美术出版社，2020年版