“纯化语言”是八十年代后期的一个热门话题, 而且至今被人所强调。比较有代表性的批评家是贾 方舟。他在当时认为:时代所期待和呼唤的,既不应 是宏篇巨构式的“力作”,也不应是“大灵魂”的生命 激情,而应是艺术自身的不断演进与拓展,是艺术本 体的不断优化和艺术样式的不断更新(参见《中国美 术报》,1988年第49期)。后来又有一种说法,即吕 潮提出的“新风格主义”,其实质也是针对语言的,只 是号召力远不如“纯化语言”这个提法。 Purified language was a hot topic in the late 1980s and has so far been highlighted. The more representative critic is Jia Fangzhou. At that time, he thought: What the times are looking forward to and calling should not be the “masterpiece” of macro-style and giant structure, nor the passion of life of “the great soul,” but should be the continuous evolution and expansion of the arts themselves. The continuous optimization of the art ontology and the continuous updating of the art style (see China Art Newspaper, No. 49, 1988). Later there was a saying that the “new style doctrine” proposed by Lv Chao was essentially language-oriented, but its appeal was far from “pure language”.