(匈牙利拉斯洛•保陶基 讯问

布面油彩 225 X 299厘米 1897 布达佩斯毛焦尔•内姆泽蒂美术馆藏．

东欧国家的美术创作有其独到之处。但由于历史的、政治的诸多原因，这一地区的美术未能受到应有的关注。

 

Oil on canvas 225 X 299 cm 1897 Maugor Nemzetti Art Museum, Budapest. ‍

The art creation in Eastern European countries is unique. However, due to many historical and political reasons,

the art in this area failed to receive the attention it deserves.

　　东欧国家的美术创作有其独到之处。但由于历史的、政治的诸多原因，这一地区的美术未能受到应有的关注。

 The art creation in Eastern European countries is unique. However, due to many historical and political reasons, the art in this area failed to receive the attention it deserves.

　　上个世纪初，通过翻译和介绍，中国学者开始了对外国美术的研究。然而，经历了一个世纪的发展演变，尤其是上个世纪90年代，当中国当代艺术走出国门，与外国艺术步入同一个展示平台并发生文化互动时，我们对外国美术研究的整体格局仍然未能走出传统的编译状态。事实上，二战以后外国美术思潮的风起云涌，无论在学术观念、媒材运用还是在推广策略方面，所不断发生的根本性变革早已逐渐波及到世界各个角落。可以说，改革开放后的中国在主动与被动的互相作用力中，从艺术教学到学科建设、从创作实践到理论构建，都渗透出国外美术观念的痕迹。那么，中国对外国美术的关注，在经历了一百多年的探索后，为何仍旧未能建构一套适应当代艺术发展的新的研究体系?

 At the beginning of the last century, through translation and introduction, Chinese scholars began to study foreign art. However, after a century of development and evolution, especially in the 1990s, when Chinese contemporary art went abroad, entered the same display platform and cultural interaction with foreign art, our overall pattern of foreign art research remains Can get out of the traditional compilation state. In fact, after the Second World War, the ideological trend of foreign arts has been surging. No matter in academic concepts, media use or promotion strategies, the fundamental changes that have continuously occurred have gradually spread to all corners of the world. It can be said that after the reform and opening up, China's active and passive interaction, from art teaching to discipline construction, from creative practice to theoretical construction, has permeated the traces of foreign art concepts. So, after more than 100 years of exploration in China's attention to foreign arts, why has it not been possible to construct a new research system adapted to the development of contemporary art?

　　进入2l世纪，也就进入了一个资讯更为发达与便捷的时代。科技的日新月异、信息渠道的多元畅通，使世界在弹指一点间即可连通，也使我们不再受制于传统交流方式的种种局限。曾经以纸本作为主要传播媒介的年代里，国外的书籍与画册成为了我们研究外国美术的主要途径，编译成了研究的主要手段。这些来自于国外的书籍、画册无疑为我们的研究提供了难得的“一手”资料，而较之于行进中的外国美术，这些看似前沿的“一手”资讯的更新实则无法跟上艺术潮流的发展速率，编译自身存在的文化认知和学术偏好，又使这些资讯的前沿性与可信度被进一步消解，误读也就在所难免。通过编译获得的间接的研究资料，更使我们始终无法触碰到艺术潮流发展的真实脉搏。听任这种状况发展就意味着，我们永远处在被动地追赶潮流的窘境之中。对于国外书籍与画册的依赖，注定了外国美术研究的总体学术格局始终无法走出编译的尴尬局面。

Entering the 21st century, we have entered an era of more developed and convenient information. The rapid development of technology and the diversification of information channels have enabled the world to be connected in just a few clicks, and we are no longer subject to the limitations of traditional communication methods. In the era when paper was used as the main communication medium, foreign books and albums became the main way for us to study foreign art, and compilation became the main means of research. These books and albums from abroad undoubtedly provide rare "first-hand" materials for our research. Compared with the foreign arts in progress, the updates of these seemingly cutting-edge "first-hand" information can not keep up with the art trend The rate of development, the compilation of its own cultural cognition and academic preferences, and the cutting-edge and credibility of this information are further eliminated, and misreading is inevitable. The indirect research materials obtained through compilation make us unable to touch the true pulse of the development of art trends. Allowing this situation to develop means that we will always be in a dilemma of passively chasing the trend. The reliance on foreign books and albums doomed the overall academic landscape of foreign art studies to always be out of the embarrassing situation of compilation.

 

　　为什么我们无法摆脱这种惯有的研究方式和价值认定?在一定程度上，固有意识形态的先行和传统知识结构的局限，使得我们在面对宏大的外国美术研究时，无法回避中外语言、身份、环境、背景、历史、文化等等的矛盾和隔阂。

 

Why can't we get rid of this customary research method and value identification? To a certain extent, the inherent ideological advancement and the limitations of traditional knowledge structure make us unable to avoid Chinese and foreign languages and identities when facing grand foreign art research , Environment, background, history, culture, etc.

　　在这一个世纪的时间里，社会形态、科技水平、经济状况与文化艺术一同经历了深刻的变革。20世纪初，我们可能会因为拉链、圆珠笔、冰箱……这样的发明而惊叹不已，但百年后的今天，这些物品早已是生活中习以为常的一部分了。特别是20世纪60年代以后，世界开始逐渐被媒体所支配。电视、影像等新媒体技术不仅在大众文化中扮演了越发突出的角色，而且其影响力扩展到艺术的各个领域，越来越多的艺术家开始尝试将科技融入艺术的创作中。新媒材的加入使艺术的界限变得越发模糊，也使科学与工业革命的成果开始逐步转化为真切的艺术体验。在杜尚等先锋艺术家之后，对于新媒材的实验与运用，更是发展成为一种艺术自觉，它直接引发艺术家观念的日趋颠覆性，艺术作品的呈现方式日趋多元化，为艺术的发展催生出无限的可能。伴随着层出不穷的艺术新媒材，传统的艺术表达方式，尤其传统的架上绘画、雕塑等艺术媒介面临着巨大的挑战，这一点在20世纪末的网络技术成为艺术创作中又一个新媒材的现象中显得尤为明显。正如杜尚的小便池给传统艺术重拳一击般，新兴的媒体艺术也给传统艺术带来了一次重创。与科技为伍，使新媒体艺术自生发以来就显得底气十足，如今也凭借其在视觉感染力方面的优势开始大肆瓜分传统艺术的疆土。这在奥地利的林兹媒体艺术节、德国的欧洲媒体艺术节等国际性的媒体艺术节中可一探其端倪。当艺术沿着这样的方向前行时，我们的学者怎样运用当代人的眼光关注和研究这一时代的世界艺术变化，这才是关键所在。如果这时我们仍在研究和教学中忽略国外艺术领域里存在的现实，又怎获得外国美术研究的真实材料?

 

In this century, the social form, technological level, economic status and culture and art have undergone profound changes. At the beginning of the 20th century, we might be amazed by inventions such as zippers, ballpoint pens, and refrigerators, but today, a hundred years later, these objects have long been a part of life. Especially after the 1960s, the world began to be gradually dominated by the media. New media technologies such as television and video not only play an increasingly prominent role in popular culture, but also extend their influence to various fields of art. More and more artists are beginning to try to integrate technology into the creation of art. The addition of new media has made the boundaries of art more and more blurred, and it has gradually turned the fruits of the scientific and industrial revolution into real art experiences. After pioneering artists such as Du Shang, the experiment and application of new media has developed into an art consciousness, which directly leads to the increasingly subversive concept of artists, and the diversified ways of presenting works of art, which has promoted the development of art. Unlimited possibilities. Along with the endless new media of art, traditional artistic expressions, especially the traditional art media such as paintings and sculptures on the shelf, are facing huge challenges. At the end of the 20th century, network technology became another new medium in artistic creation. This phenomenon is particularly obvious. Just as Duchamp's urinal hit the traditional art, the emerging media art also brought a heavy blow to the traditional art. Combining with technology has made the new media art full of confidence since its inception, and now it has also begun to divide the territory of traditional art with its advantage in visual appeal. This can be seen in international media art festivals such as the Linz Media Arts Festival in Austria and the European Media Arts Festival in Germany. When art moves in this direction, how our scholars use contemporary eyes to focus on and study the changes in world art in this era is the key. If we are still ignoring the reality of foreign arts in research and teaching at this time, how can we obtain real materials for foreign art studies?

　　当下，艺术的发展与科学、技术结合得更密不可分，新媒材的加入使我们感觉艺术似乎就在身旁。也许正因为这种近在咫尺的距离，使我们对外国美术的认知又陷入一种新的文化误区。最值得关注的是，我们所处的是一个信息爆炸、图像泛滥的世界，看似触手可及的周遭事物却充满了种种不确定性，有价值的研究材料和对象又隐藏在繁冗的表象之中。面对这些不可捉摸的变数，只有身临其境地去感知，才不至于在纷繁的资讯中随波逐流。如今，从威尼斯双年展、圣保罗双年展、卡塞尔文献展到巴塞尔国际艺术博览会、德国科隆国际艺术博览会，众多艺术事件吸引我们亲临现场，在第一时间汲取国外艺术的资讯成为可能。上世纪90年代后，中国当代艺术开始走出国门，步入国际舞台。在某种意义上说，这无疑为我们重拾被忽略的现场感受提供了更多可能。面对这些重要的艺术活动，相信没有人会无动于衷。遗憾的是，在这些国际性的艺术盛会中，中国批评家、研究学者的身影总是不多见。与中国艺术家的趋之若鹜相比，艺术史的评论者、研究者们似乎对这些艺术现场并不敏感。也许与长久以来形成的思维模式和建构的知识体系有关，它已经让我们的学者培养出了一套惯用的研究方式，而这也直接导致了我们对外国美术的整个学术研究水平始终未能走出瓶颈状态。

Nowadays, the development of art is more inseparably combined with science and technology. The addition of new media makes us feel that art seems to be by our side. Perhaps because of this close distance, our knowledge of foreign art has fallen into a new cultural misunderstanding. The most noteworthy thing is that we are in a world where information is exploding and images are overflowing. The surrounding things that seem to be within reach are full of uncertainties. Valuable research materials and objects are hidden in the appearance of redundancies. in. In the face of these unpredictable variables, only by being immersive to perceive them will you not be able to follow the crowds of information. Today, from the Venice Biennale, the São Paulo Biennale, the Kassel Document Exhibition to the Basel International Art Fair, and the Cologne International Art Fair in Germany, many art events attract us to the scene, and it is possible to absorb the information of foreign art in the first time. . After the 1990s, Chinese contemporary art began to go abroad and enter the international stage. In a sense, this undoubtedly provides more possibilities for us to regain the neglected experience on the spot. Facing these important artistic activities, I believe no one will be indifferent. Unfortunately, in these international art events, Chinese critics and research scholars are always rare. Compared with the rush of Chinese artists, critics and researchers of art history seem to be less sensitive to these art scenes. Perhaps it has something to do with the long-established thinking pattern and constructed knowledge system. It has allowed our scholars to cultivate a set of idiomatic research methods, and this has directly led to our entire academic research level of foreign arts. Bottleneck status.

 

　　当然，摆在我们面前的不单单是走出去的问题。如果固有的研究方法不改变、知识结构不更新，恐怕问题依然会得不到解决。如今信息渠道的多元，已经改变了外国美术的研究方式。我们不必再去依赖国外的书籍与画册，因为网络技术的发达，使我们只需敲敲键盘、动动鼠标就可以与国外的画廊、艺术机构、艺术家们建立最直接的联系。通过网络，我们可以获得比国外书籍和画册更为前沿的一手资料，从图像到文字，可谓是一应俱全。我们也不必困守在编译的形式中无所适从，因为与编译得来的间接资讯相比，真切的现场感受更能使我们了解国外艺术发展的真实面貌。从另一个角度而言，在现场不仅可以体验国外各类艺术活动的发生，而且可以对外国美术研究对象进行还原，这无论是对外国美术史论研究，还是对外国当代艺术的关注和批评，都将构成新的认知。当今世界艺术的发展状况已是今时不同往日，对艺术理论研究者的要求也是今非昔比，站在中国的文化立场上，更新传统知识结构，转变固有意识理念，掌握当代研究手段，才能在与西方各种艺术思潮和艺术动向的对话中，建立中国研究外国美术的立足点，并使成果反作用于整个世界艺术的发展。

Of course, it is not just the issue of going out that is before us. If the inherent research methods are not changed and the knowledge structure is not updated, I am afraid that the problem will still not be solved. Nowadays, the diversification of information channels has changed the research methods of foreign arts. We no longer have to rely on foreign books and albums, because the development of network technology allows us to establish the most direct contact with foreign galleries, art institutions, and artists by simply typing on the keyboard and moving the mouse. Through the Internet, we can obtain more cutting-edge first-hand information than foreign books and albums, from images to texts, which can be described as readily available. We also do n’t have to be stuck in the form of compilation, because compared with the indirect information obtained from compilation, the real live experience can make us understand the true appearance of foreign art development. From another point of view, not only can you experience the occurrence of various art activities abroad, but you can also restore the objects of foreign art research. Whether this is a study of the history of foreign art, or attention and criticism of foreign contemporary art, All will constitute new cognition. The development of art in the world today is different from today, and the requirements for researchers of art theories are different than before. From the standpoint of Chinese culture, it is necessary to update the traditional knowledge structure, transform the inherent consciousness, and master contemporary research methods. In the dialogue with various western art trends and trends, establish a foothold for China to study foreign arts and make the achievements counteract the development of art in the whole world.

 

　　在2l世纪这样一个数字信息时代，掌握英语、计算机……已经成为了现代人必备的生活技能。对于外国美术的研究者来说，这些看似与外国美术研究无关的技能，却往往会直接影响到整个研究的行进与发展。当与国际接轨时，直接而有效的交流可以为我们的研究省去很多不必要的旁枝末节，越过了编译这道原来唯一的工序，也就直接接触到了文本和图像的真实面貌。近年来，中国关于外国美术的研究已经在思想观念上发生巨大变化，并取得许多可以站在世界学术前沿对话的成果，尤其基础工作的梳理是值得骄傲的，比如关于文艺复兴的研究已经与欧美的研究没有多少差距。此外，一批从国外学习或者研究归来的学者，为国内学界带来新的思考方式、理论观念和研究方法，这是改变现有研究体系的催化剂。然而，这样的努力仍然显得孤单，世界在变，艺术在变，而我们现有的研究体系不可能以不变应万变。唯有将学术研究纳入到国际的真实视野中去考量，融入到当代艺术发展的背景中去探讨，利用现代的网络平台和现场的直观感受去更深层次地了解外国艺术的发展，才可能使我们的研究真正具有前沿性、前瞻性，并使理论研究真正发挥其学术引导作用，这也正是2 1世纪中国的外国美术研究应该持有的“现场”态度。

In a digital information age such as the 21st century, mastering English and computers ... has become a necessary life skill for modern people. For foreign art researchers, these skills that seem to have nothing to do with foreign art research often directly affect the progress and development of the entire study. When it is in line with international standards, direct and effective communication can save our research a lot of unnecessary side-by-side details, and beyond the original process of compiling, we are directly exposed to the true appearance of text and images. In recent years, China ’s research on foreign arts has undergone tremendous changes in ideology and concepts, and has achieved many results that can stand at the forefront of world academic dialogues. Especially the combing of basic work is proud. For example, the research on the Renaissance has been The research does not have much gap. In addition, a group of scholars who have studied or returned from abroad have brought new ways of thinking, theoretical concepts, and research methods to the domestic academic community, which is a catalyst for changing the existing research system. However, such efforts still seem lonely, the world is changing, and art is changing, and our existing research system cannot change constantly without changing. Only by integrating academic research into the international real vision to consider, into the context of contemporary art development, and using modern network platforms and on-site intuitive feelings to gain a deeper understanding of the development of foreign art, can we enable us 'S research is truly cutting-edge and forward-looking, and makes theoretical research truly play its academic guiding role, which is also the "on-site" attitude that China's foreign art research in the 21st century should hold.