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伴随着中国综合国力以及在世界各种事务中影响力的不断增强,中国文化的发展终于从对于“他者”的参照中解放出来,民族文化的自觉与中国主体精神的确立已成为当下经常讨论的一个重要话题。这个话题的展开,显然是以党的十七届六中全会提出的建设社会主义文化强国的战略目标为语境而呈现的学术话语。中国美术的自觉与主体精神,无疑是中国文化的自觉与主体精神的一个组成部分。那么,什么是中国美术的自觉?中国美术的主体精神应当体现在哪些方面?而在这种文化自觉中如何认识与处理“他者”的文化?中国美术的自觉如何体现人类艺术发展的方向?等等,这些都是我们亟待探讨的重要课题。本刊从本期起特辟“笔谈中国美术的自觉与主体精神”栏目,以展开对这一问题的讨论,欢迎读者踊跃投稿,积极参与。
With the overall national strength of China and the ever-increasing influence in various world affairs, the development of Chinese culture has finally been liberated from the reference to the “otherness.” The establishment of the consciousness of national culture and the spirit of the Chinese subject has become the moment A frequent topic of discussion. The launching of this topic is apparently based on the academic discourse presented by the Sixth Plenary Session of the 17th CPC Central Committee with the strategic objective of building a socialist strong culture. The conscientious and subjective spirit of Chinese art is undoubtedly an integral part of the consciousness and subjective spirit of Chinese culture. So what is the consciousness of Chinese art and what should be the main spirit of Chinese art? How to recognize and deal with the culture of “the Other” in this cultural consciousness? How does the consciousness of Chinese art reflect the development of human art? Etc.? These are all important topics that we urgently need to explore. Since the beginning of this special edition “writing about the consciousness of Chinese art and the spirit of the main ” column to start the discussion on this issue, readers are welcome to actively contribute, and actively participate.