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当代中国的虚无主义极其复杂,一方面有来自自身传统破灭后的虚无;一方面有来自苏俄信念崩溃后的虚无;还有最重要的一方面,就是前两者崩溃后,企图寻求新的世界之道,新的信念,可这来自西方的新思想新信念本来就夹杂着虚无。因而,当下中国虚无主义盛行,可如此繁杂的虚无撮合在一起,必定混乱,最后导致虚无泛滥。本文力图描绘一九七八年后中国艺术界虚无主义的各种样态,用这三十年的艺术历程映射虚无主义在中国的现状,同时指出走出泛滥的虚无主义还需回到传统上来。
The nihilism of contemporary China is extremely complicated, on the one hand from the nihility of its own tradition; on the other hand, from nothingness after the collapse of Soviet Russia’s faith; and on the most important aspect, it is the attempt to seek new after the collapse of the former two The way of the world, the new faith, but this new idea from the West, the new belief has always been mixed with nothingness. Therefore, the prevalence of nihilism in the present moment can be so complicated that nothing can be confused and eventually lead to nothingness. This article tries hard to describe all kinds of nihilism of the Chinese art world after 1978, and uses the thirty years of art history to map the nihilism’s present situation in China. At the same time, it points out that it is still necessary to go back to tradition after going out of the overflowing nihilism.