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 Before writing in the column: Every culture has its own special complex, and even every time in every field has a “knot”. If we say that the “knot” of Chinese art in the 20th century was on the “West” issue, then in Western modern art, the “knot” may be on the “figurative = abstract”, specifically In the abstract, from the concrete to abstract changes. The emergence of abstractism in the second decade of the twentieth century is widely considered to mean the breaking of the entire art rules and the birth of new art rules since the Renaissance. Therefore, this matter is very big and big enough to become a difficult time to be disassembled “knot”; this matter is very fundamental, it is like a river bed