吴为山
吴为山先生是具有广泛国际影响力的雕塑家，由他提出并践行的“写意雕塑”广为世人所知。虽以雕塑名世，但吴为山成就却远不止于雕塑。就理论研究而言，他的艺术观念、美学理论、教育理念、传播意识和文化观点均值得细品。事实上，吴为山是一位跨界者。他身兼美术学、设计学、宗教学三个方向的博士生导师，在美学、美术学、设计学、宗教艺术、审美心理学、审美教育学、博物馆学、文化传播学等方面皆有丰厚成果。他主编了《西汉木雕》《长治彩塑艺术研究》《中国雕塑新锐》《雕塑文论》《中国佛教文化艺术》《中国佛教艺术》《吴哥雕塑艺术研究》等多部论着；撰写了《中国古代雕塑风格论》《视觉艺术心理》《雕塑的诗性》《雕琢者说》《吴为山艺文集》等数十部学术专着、论文集和学术随笔；还在《人民日报》《光明日报》等重要媒体以及《文艺研究》《美术研究》《美术》等重要学术期刊发表《中国古代雕塑的八大风格特质》《雕塑与人文精神》《写意精神与雕塑》《以美育提升人文素养筑牢文化自信》《文化生命的孕育》等各类学术论文数百篇。其中，多篇被《新华文摘》《人大复印报刊资料》等极具权威性、学术性和品牌影响力的人文社科类数据库转载。可见，吴为山所跨的每一个“界”，皆能专而至精，它们非但没有变成前进的掣肘，反而成为催生新思想的重要助缘。
这与吴为山的人生经历不无关系。受家学熏染，他自幼熟习书法，青年时代接触雕塑，大学时专擅油画，毕业后留校任教而转向教育理论研究并赴北京大学进修心理学，继而又负笈欧美，先后到欧洲陶艺工作中心、华盛顿大学美术学院访学交流。“转益多师无别语，心胸万古拓须开”，吴为山凭借丰富的阅历而开阔了视野、打开了格局并提升了境界。更重要的是，虽然不断涉及新领域，但他从未放弃既有领域，而是让不同领域在此过程中相互激荡、相互启发、相互滋养，共同成就了其精彩的跨界人生。也因此，当吴为山进行理论研究时，提出的观点往往能跳出专业分类的局限而独有千秋，值得反复揣摩玩味。换言之，阅读其文章、着作，往往总能让读者的审美期待得到极大的拓展。日前，由人民出版社推出的《美在中国美术馆：吴为山论展谈艺录》（以下简称《美在中国美术馆》），相信可以使读者拥有这样的阅读体验。
《美在中国美术馆》分为五个板块：中国古代美术、近现代美术、当代中国美术、现当代外国美术和综合类，它们是作者近几年为中国美术馆部分重要展览所写的序言或发言稿。这些文章长短不一，以辨名述理为主，中国画、油画、版画、雕塑、工艺美术、摄影、素描等艺术类型皆有涉猎；专题展、个人展、捐赠展、文献展、交流展等不同展览类型尽收笔下。有宏大叙事，也有个案研究，徜徉恣肆，要言不烦，再配上精美的插图，犹如一个既有“大菜”“硬菜”也有精美“点心”的学术“拼盘”。这些文章不仅是理论研究，同时也是艺术评论，视点多维度，观点多洞见，论述无套路，思维有交叉，字里行间显现出其有态度、有温度、有角度且有意思的艺术灵魂。下面，笔者选择几个话题对这本书进行简要介绍。
1、展览中的传统与道统
《文心雕龙·隐秀》篇中说：“文之英蕤，有秀有隐。隐也者，文外之重旨者也；秀也者，篇中之独拔者也。”读者直接看到的内容，固然是作者和编者才情嘉会之成果，属于独拔之“秀”者，但伏采潜发，秘响旁通方为文外之“隐”意，才是作者更想让读者领悟体察的要义。要读出《美在中国美术馆》文字背后的“隐”，必须将它们放进中国美术馆展览这一特定语境中。其实，书名本身便已透露玄机，加之书中每篇文章后面，都附有相对应的展览介绍，说明编者从一开始便有意识地想提醒读者，这些文章的诞生和传播本处于中国美术馆展览这一原初语境之中。只有将它们纳入此原初语境，才能感知到作者眼光和胸襟的非凡之处。
众所周知，美术馆是收藏美术史、呈现美术史、书写美术史的地方，很多人至今也认为，当作品被高级别的美术馆收藏，就意味着与美术史发生了直接关联。基于此，美术馆策展也相应地将以“史”为主线作为基本学术立场和策展理念对藏品不断归纳、总结、研究、发现。美术馆很多常设展或馆藏展都围绕着藏品开展，用史学逻辑或社会历史观进行学术脉络梳理。而美术馆的展览叙事也一直与美术史保持着互动关系。一方面，美术史的研究成果会影响美术馆的收藏与展陈；另一方面，美术馆的展览叙事的某些观念和形式也会对美术史学研究产生影响，甚至还会形成对已有美术史的补充甚至再书写。因此，美术馆展览就是一种美术史现象，属于美术史的一部分。而这本书的结构编排，很大程度上也体现了“史”的逻辑，故而其内容天然地带有美术馆的展览叙事性。吴为山正是以策展人尤其是中国美术馆总策展人的身份与眼光，重新审视了中外美术史，并按照自己的理解进行研究。说到这里，则又应该回到作者跨界身份的丰富性和文章表达语境的特殊性上来。作为国家美术馆的馆长，吴为山在中国美术馆的展览中表达的观点除了代表自己外，也在一定程度上反映国家当代文化的立场。比如，在《东吴万里墨韵流芳——600年吴门画派文脉与复兴》一文中的观点，就非常典型地体现了这种源于作者身份和表达语境的影响。吴为山将明清至今的600年吴门绘画总结出四个特点：兼容并蓄、多方融合、含蓄蕴藉、以道统艺。其中的第四个特点，格外彰显了作者的站位与独到。因为如果单从学界视角看，明清的画学道统观对山水画的多样性发展实际上起到了阻碍作用。如“四王”一派的“师古”始终局限于固定的几个人，放弃了更多营养摄入的可能，导致作品面貌单一，程式僵化。若以史为鉴，确立画学道统似乎并无珠玉在前。然而，吴为山却从其中能看到道统之于画学的正面价值和积极意义，提出：确立道统，以道统艺，让母题限定和价值范式发挥其最大作用，帮助创作者审视、矫正创作主体的绝对自由所可能带来的虚无和偏激。
显然，吴为山绝非不知道明清画学道统所产生的弊端，但他能跳出时空偏狭导致的陈见，看到了道统意识在让个体接通时代脉动、融入文化传统中发挥的重要作用。近百年来，中国美术一直受到来自西方的深刻影响，甚至一度在其身后亦步亦趋。中国文化艺术的短板在这百年间也得到了充分的剖析与批判，不过批判不代表否定，更不能代替建构。如今，中华民族正走在伟大复兴之路上，这条复兴之路本身也是一段寻根之旅和重建自信的过程。批判传统固然有可贵之处，但此时对传统的认同，于民族伟大复兴而言则更有现实意义。传统不是尘封的过往，不是静止不变被定型的存在，它包含过去、呈现当下、开启未来，是不可分割的绵延之流。我们不能规定传统，而要与时俱进，要使之永远处于创造性转化和创新性发展中。因此，吴为山审视传统，落脚点在未来而非过去。他站在未来的角度回溯历史，从中发掘更多的可能性源泉，强调对传统进行重建。在此基础上，吴为山提出了“在当代中国现代化进程和新文化建设中重构画学道统”“使个体的艺术创作在道统性的彰显中超越自身意义，获得升华，迈向不朽”的要求和希冀。正因为如此，我们看到吴为山对整个美术史都充满着一种包容与温情，他更希望发掘画家、画派乃至画史中积极向上的因素并将其呈现——这是一种姿态，更是一种心态和一种状态。
吴为山专着
2、大师与美术史
吴为山对待传统的思维方式是整体性、有机性的，因此能根据不同语境、不同目的而不断刷新视角，真正做到用现在和未来赋予和决定传统。《美在中国美术馆》一书中，收录了他为几位近现代中国画大师的展览所写的长篇序言，笔酣墨饱，斐然成章。如在《黄宾虹：浑厚华滋我民族》中，吴为山抛出了一个“灵魂诘问”：“为何认识和解读一位真正的艺术大师如此艰难？”继而，他从黄宾虹对其身后美术史的影响入手进行分析解答，选择黄宾虹的两位最具典型意义的弟子林散之、李可染为代表，有意识地区分了书法和绘画两个领域，不仅生动地体现了一代艺术宗师如百川汇海与千江之源般的雍穆气度，同时也突出了文脉的流传演进必须要在创新中实现这一要义。再如《傅抱石：搜尽奇峰写性灵》一文中，吴为山提出：要了解美术史，最直接的方法便是研究具有典范意义的大师——从作品的图式到内容，从时代背景到地域文化，从艺术家的个性特征到民族文化的集体积淀……由此，我们才会在一个广阔而深远的文化时空来审视艺术现象，进而在比较中获知艺术生态的流变。吴为山在此明确指出自己的美术史研究方法论，其中“最直接”三个字，传达出一种不容置疑的自信，恰恰暗示出只有成为“具有典范意义的大师”，才是真正值得敞开心灵与之对话的，充分反映了他能够平视历史、对标先贤的眼光、格局与境界。在这篇文章中，吴为山还藉由总结傅抱石的画风，提出了“笔墨当随时代、笔墨当随地域、笔墨当随性情、笔墨当随心象”，既发展了清代石涛“笔墨当随时代”的美学命题，某种意义上也是针对中国画文脉的当代传承而构建出完整的审美创作体系框架。
除了运用整体性、有机性的思维方式审视传统外，吴为山还运用一种对比互动的思维方式观照美术现象。这是一种充满辩证张力的思维方式，面对来自西方、来自时代、来自意识形态的要求，他深刻反思当下中国美术在认知和实践之间可能出现的断裂、当下和传统之间可能产生的冲突，以及本土文化和外来文化之间可能发生的对立，继而进行自主选择与主动融合，提出见解，做出判断。如在《雨后青山铁铸成——谈潘天寿》一文中，吴为山同样是立足于未来，确定了潘天寿的美术史坐标。一般来说，学界是将潘天寿视为中国画最后一位集传统之大成的大师，历史定位和评价亦都以此为基调。而吴为山却能前瞻性地认为，潘天寿之于美术史的真正价值与意义乃是：走进通往现代的大门，用匹配时代的陈述方式完成了从古典向现代的转化……在新的历史语境中为我们回归精神家园指明方向。
可见，他更加看重潘天寿对中国画传统的突破与转化，强调其“在集大成的基础上摧陷廓清，创造出体现生命意志的心灵图式”，从而凸显中国画超越时代之上的文化属性、自然属性和历史属性。事实上，吴为山所观照的美术史，总能突显不同的历史氛境，以设身处地的时代联想透析艺术创作与社会背景，体会艺术家的命运轨迹与理想追求，从而看到一条反映美术与时代同行并不断积累和延伸的成长之路，由此丰富和深化认识中国美术发展历程的文化价值。
2017年11月17日至26日，由中国美术馆策划并主办的“美在新时代——庆祝‘十九大’胜利召开中国美术馆典藏精品特展”在中国美术馆面向公众开放。展览迅速获得观众叫好，超出日常参观量的5倍之多，排队观展的队伍绵延长达2公里，与11月北京凛冽的寒冬相比，场面可谓异常火爆。
3、笔墨与人格境界
吴为山对美术本体的认知尤能切中肯綮，分析亦剔肤见骨。比如，他在解读傅抱石的“线”时，深入道家哲学，从有与无、动与静的辩证性存在中寻找其文化根据。他将“线”与“面”对举，指出“块面是一种实实在在的静态‘存在者’，线条则是趋向于‘无’的动态‘生成者’”。基于上述分析，傅抱石的“抱石皴”被创造性地理解为一种“从有复归于无而来”的“线”。我们知道，“抱石皴”是傅抱石最具辨识度的技法，历来为画界、学界所熟识。而吴为山却能别具慧眼，看到其“仅少之形，因附色于‘无’成象而展开”的造型特点，体会其“亦真亦幻，亦动亦静”的审美特质，发现其“超拔沉沦之存在，远离现实之况味”的哲学意蕴，恰与老子描述“无”含于“有”的恍惚状态相通，是一种尤其能体现“道”之悠远深邃的视觉形式。所以，把它总结为“既是自观自听，自视自照的映现，亦为中国古典艺术精神之‘聪明’‘老境’的彰显”。并且，吴为山还透过“线”这一独特视角，充分诠释了“线”作为中国书画之本体的美学特征：（傅抱石）常常是为“线”而寻觅题材，不同的对象对应不同的审美意象。以凌空杨枝的疏朗表现线的“冲淡”与“逸动”；以穿越的过山索道表现线的劲健和韧性；以井架的高压电缆表现线的绵延和秩序……
同时，吴为山也深刻地指出“线”之所以成为傅抱石艺术的核心，乃是：由于书法篆刻而体现的功深百炼的底气，还折射着他以线性而神合心性的自在与悠游。这是由技而道的艺术体验，是一线终古接天涯的图像表征。在此，吴为山极深研几，将艺术家的审美旨趣和绘画风格追溯到造化之始、生命之初的哲学本源处，寻找艺术家本真心性与乾坤规律的契合点，揭示中国绘画的笔墨本体与大道运行的同构性，探赜索隐而得之人所未得，阐幽发微而见之人所未见。以至于抱石先生的哲嗣傅二石看到后，特地撰文在《光明日报》刊发，称“傅抱石的独特之处，超人之处，几乎都被文章涉及了”。傅二石还特别提到，吴为山对“线”的认识，“深到超出许多人的理解力”。
吴为山不仅考察美术本体与客观物象、现实世界乃至宇宙本体的关系，同时也极为强调其与心性修养以及人格境界的关系。在中国美学体系中，人品往往呈现于作品且人品不能靠技法习得。故而，中国艺术的最终落脚点绝不是创作出作品，而是创作者人格境界的提升。换言之，就中国艺术而言，真正的本体其实是人。诚如清代张庚所说：“德成而上，艺成而下”。这种独树一帜的理念，正是中国传统艺术精神之所在。吴为山对个中道趣深切着明，因此他在研究具体艺术家时往往格外看重修养心性的工夫，即突出艺术家通过涵泳经史、临习前贤等方式，存养扩充自己的胸次襟度，形成高远人格境界的过程。如《昂扬与儒雅的风骨——谈高二适书法的人格气象》，吴为山在文中提出一个概念—— “人格气象”，并将高二适书法的“人格气象”分为“书卷气”“才气”“骨气”三个重要因素。
所谓“书卷气”，本质是“民族文化的积淀”，必须“洞明文字生成中所蕴自然山川之地脉、宇宙变幻之天象，深谙文字之文化含量”，使之“生发出意象、意念、意蕴、意境”。吴为山还以自身极为敏锐的审美感受力，发现高二适书法与诗歌之间的通感性所展示出的“书卷气”：神交诸体流变，畅通主体之情，虚浑圆融，自成一体。其阴、阳、顿、挫，以及飞动的线条和铿锵的运笔，在文化的时空唱和于杜子美、李谪仙、白乐天……
所谓“才气”，其体现于“创造性”。而“创造性”又体现为创作者“以文化之，深谙诸体与百家，且信手拈来，于自然挥写之瞬间得众美之妙，仿佛深藏之甘泉濒濒溢出”。进而，吴为山指出高二适书法的“才气”与其“书卷气”之间的关系：凭藉吟哦所养之气，功深百炼之力，自信点划，一线横空，全仗性情所致，将书法的疏密节律对应于一瞬灵感，故幅幅皆殊，各美其美，予书法审美以多维空间。
所谓“骨气”，是指“不求功名”“只为真理”。古人早有“骨法用笔”的审美标准，历史上也一直高标用笔的线条应有力量感。但古人所说的“骨法”并未与人格道德直接关联，而吴为山则明确赋予此用笔中所蕴涵的力量应是一种人格境界的折射和道德力量的彰显。他认为，高二适的“骨气”正是“不畏权势”和“坚持自己的学术观点”，当它外化为书法时则“为狼毫用笔，信笔直取，力度遒劲”，在“昂扬、激荡的书法笔锋里折射着古人的高古，文人的高雅”。
本书中很多文章都是基于画家的人格境界来审视其艺术境界。如《为万世开太平——于右任书法作品展》，吴为山将于右任的书法看作是：将一生戎马文心、赤肝忠胆注于笔端，得正大、雄迈、磊落、浑朴之气象。方之书史，唯颜鲁公与其似之。还有前文已经提到的《雨后青山铁铸成——谈潘天寿》，吴为山认为画家的书画艺术整体上反映出一种“楷书的静态造型美学”“其中刚毅之道德意味和执着之生命情态恰与儒家的人格精神同构”。潘天寿“沿着尽心、知性、知天一路走过，将胸中的浩然之气充塞于自己的艺术世界”“直通于天地之间的凛然生命力”，与其“壮美”的视觉风格一起“共同育成了人格符号的价值取向”。
综上可见，在吴为山眼中，真正伟大的艺术必须要有伟大的人格为依托，心性修养是途径，人生境界则是基础。这一观点强调创作者要在关注艺术本体的同时，不忘透发出一种正大光明之概，充分阐释了“道”与“人”之统一的原理，实乃对伟大的中国传统艺术精神的传承。
吴为山手书的“写在美在中国美术馆一书出版之际”墨迹
4、理论的文学性表达
理论研究通常是基于一种对象化的剖析思路展开，研究对象之于研究者而言，乃是外在的、可以被客观描述的存在，因此理论研究往往显得“灰色”。而一些专门从事理论研究者，又往往会脱离美术现象本身而停留在逻辑推演层面，用旁征博引或故弄玄虚的概念制造来掩盖对事实本身理解的苍白。某种意义上，这类文章成为作者设问自答、自圆其说的文字游戏，要么观念先行、要么结论费解。而《美在中国美术馆》却是一部活色生香的理论性作品。毕竟，吴为山诸多身份中最让世人熟知的，还是一位成就卓越的艺术家。他即使在写理论文章时，文字也从不缺乏感性与灵动，具有独特的面貌。读者完全可以从他酣畅的行文中，感受到一种与生俱来的敏锐感受力和精准直觉。如《以文字景仰吴冠中先生》的行文：春天，人间的四月天，桃红、嫩绿，健枝舞动，柳丝绵绵，谁家飞燕入梦？青山一抹，湖面如镜，点点白鹅，划破江南的宁静，这油彩的芳香，笔笔含情……寥寥数语，吴冠中作品的神韵便如在眼前。尤其一个“抹”字，堪称神来之笔，飘逸、轻盈，生意盎然，江南意境和盘托出，读来令人颊齿留香，心弦也在不经意中被轻轻拨动。
再如《大美至朴——罗尔纯艺术展》中，他写道：“红得令人心醉的土地，在凝重、淳厚的饱和色浆中翻动着富有激情的笔触，层层复加而又层层留底；扭曲升腾的大树直入翻卷的云天，放牧的农家女消融于红土地，而灿烂一片。同样默默向着天方归去的耕牛，在这红调子中更显得自在。”这些描述文字仿佛梦呓却又真实准确，一下子就捕捉到了最具辨识性且最富感染力的画面特征。它们叩击感觉、唤醒体验，凡对描述对象有过视觉经验的读者，一定会引起深刻的共鸣，而未曾见过描述对象的，也定会心生向往。
不仅是描述，点评亦动中窾要。如《梦游诗园——皮埃尔卡隆油画艺术展序》中说：“和西方古典美术告别后，塞尚及其之后诸多艺术流派的抽象表现，似乎可以找到主观世界的对应。但人类的认识和审美，视觉经验和形式创造，总是在主客观间求得平衡，艺术方能进入心灵，成为精神的慰藉。因此西方艺术在经过平静与动荡、保守与革命之后，开始回眸那远古的、原始的艺术。生生不息的自然是先民朴素的创造之源，文明时代则追寻那‘诗意地栖息’。”这真是香象渡河之语，完全没有被政治体制、思想演进、艺术生产等看似时髦却老生常谈的研究套路所遮蔽，且跳脱出文化和国别的差异，直接从心物关系的哲思出发透析美术乃至文明的演进逻辑。若非悟道精深，绝不可能写出此等文字。
吴为山对作品风格来源的判断，同样鞭辟入里。因为当深厚的理论积淀经过创作实践的淬炼，审美感受力将沦肌浃髓，审美洞察力则擘两分星。还是用他研究罗尔纯先生画风时所作的判断为例：从印象主义光色颤动的微妙变化中看到了瞬间的永恒，从纳比画派斑驳的色块分布和光影的构成中找到形式的生成，从野兽派炽热的狂放的线条和单纯的色彩中悟得图像的精神意义，从立体派的空间错位中更坚信解构与重构的价值。当然，楚汉浪漫及盛唐诗韵所展示出的豪放与率真，简约与激情以及先民们的造型智慧都油然融入。
在他造形的世界里，恍惚着莫迪利亚尼（Amedeo Modigliani）与汉代木俑的神韵、雷诺阿（Auguste Renoir）与乡野泥娃娃的纯厚、蒙德里安（Piet Mondrian）与江南小镇的几何抽象……天空、大地、建筑与人构成一个律动的整体。人与环境的关系非生活事理的情节和叙事，而是形的契合与恒久的造型逻辑，这些均组成他视觉艺术的版图。
在这里，吴为山仅用短短百字就已将画家的风格出处一一点出，品鉴作品时的幽微心理成为一种融汇了反复涵泳与直觉感悟且不乏诗意的表达。不用过多引述，这部书已充分展示了作者卓越的文字功力，其明显的文学性论述不仅脱离了令人乏味的浓浓“理论腔” ，即便以文学作品的标准衡量，其价值亦不遑多让。
《美在中国美术馆》的内容谈古论今，融贯中西；行文风流绝丽，璧坐玑驰，其中的好文章绝不限于以上例举。此外，该书的装帧设计也遵循了“出版者说”中提出的“遵循美育特点，弘扬中华美育精神”的初心，简约而不失强烈，端庄而不失活泼，处处体现着出版者的匠心。正文前还专门插入一张折页，是与原作等大的由吴为山手写的前言。其书法既有帖之灵动，也有碑之风骨，隽永秀逸，文意堂堂，与书中的精美插图相映生辉。事实上，仅凭一篇书评当然不可能说出本书的全部妙处。而它的妙处也恰恰在于表面文字与图像背后所“隐”藏的信息。所以，阅读本书时，“对话”比“接受”更为重要——读者若敞开心扉，细细品味，与那些才情并茂的文字进行深度交流，便自然能看出“文外之重旨”。也只有这个时候，读者的审美期待才会得到有效拓展，而这本书才真正呈现出它“使玩之者无穷，味之者不厌矣”的精彩。
（作者系中国艺术研究院美术学博士后、东南大学艺术学博士后，硕士生导师）
Mr. Wu Weishan is a sculptor with extensive international influence. The "freehand sculpture" proposed and practiced by him is widely known in the world. Although it is famous for sculpture, Wu Weishan's achievements are far more than sculpture. As far as theoretical research is concerned, his artistic concept, aesthetic theory, educational concept, communication consciousness and cultural views are worthy of fine tasting. In fact, Wu Weishan is a cross-border person. He is also a doctoral supervisor in art, design and religion. He has made great achievements in aesthetics, art, design, religious art, aesthetic psychology, aesthetic pedagogy, Museology and cultural communication. He has edited many treatises, such as wood carving in the Western Han Dynasty, research on Changzhi color sculpture art, new Chinese sculpture, sculpture literary theory, Chinese Buddhist culture and art, Chinese Buddhist art, research on Angkor sculpture art, etc; He has written dozens of academic monographs, collections of papers and academic essays, such as the theory of ancient Chinese sculpture style, the psychology of visual art, the poetic nature of sculpture, the theory of carvers, and the collection of Wu Weishan art; He also published hundreds of academic papers in important media such as people's daily and Guangming Daily, as well as important academic journals such as literature and art research, art research and art, such as the eight style characteristics of ancient Chinese sculpture, sculpture and humanistic spirit, freehand brushwork spirit and sculpture, enhancing humanistic quality with aesthetic education, building cultural confidence, and the breeding of cultural life. Among them, many articles have been reprinted by humanities and Social Sciences databases with great authority, academic and brand influence, such as Xinhua digest and newspaper materials copied by the National People's Congress. It can be seen that every "boundary" crossed by Wu Weishan can be specialized and refined. Instead of becoming a constraint on progress, they have become an important help for the birth of new ideas. This has something to do with Wu Weishan's life experience. Influenced by his family studies, he was familiar with calligraphy since childhood, came into contact with sculpture in his youth, and was good at oil painting in college. After graduation, he stayed in school to teach, turned to educational theory research and went to Peking University to study psychology. Then he studied in Europe and America, and successively visited the European ceramic work center and the school of aesthetics of the University of Washington. Wu Weishan's rich experience has broadened his vision, opened up the pattern and improved his realm. More importantly, although he continued to involve new fields, he never gave up the existing fields, but let different fields stir, inspire and nourish each other in this process, and jointly achieved his wonderful cross-border life. Therefore, when Wu Weishan conducts theoretical research, his views can often jump out of the limitations of professional classification and have their own merits, which is worthy of repeated speculation. In other words, reading his articles and works can always greatly expand readers' aesthetic expectations. Recently, the "beauty in China Art Museum: Wu Weishan's talk about art" (hereinafter referred to as "beauty in China Art Museum") launched by the people's publishing house is believed to enable readers to have such a reading experience. "Beauty in China Art Museum" is divided into five sections: Ancient Chinese art, modern art, contemporary Chinese art, modern and contemporary foreign art and comprehensive. They are the preface or speech written by the author for some important exhibitions in China Art Museum in recent years. These articles vary in length and mainly focus on distinguishing names and theories. They are involved in art types such as Chinese painting, oil painting, printmaking, sculpture, arts and crafts, photography and sketch; Special exhibition, personal exhibition, donation exhibition, literature exhibition, exchange exhibition and other different exhibition types are all included in the works. There are grand narratives as well as case studies. Wandering freely and talking nonsense, coupled with exquisite illustrations, it is like an academic "platter" with both "big dishes", "hard dishes" and exquisite "snacks". These articles are not only theoretical research, but also art criticism. They have multi-dimensional viewpoints, many insights, no routine discussion, overlapping thinking, and their artistic soul with attitude, temperature, angle and interest appears between the lines. Next, the author chooses several topics to briefly introduce the book. 1. The tradition and orthodoxy in the exhibition said in the article "Wen Xin Diao Long · hidden show": "the beauty of literature is beautiful, there is show and hidden. Those who are hidden also have the important purpose outside the text; those who are shown also have the unique purpose in the article." The content that readers see directly is, of course, the result of the talent gathering of the author and editor, which belongs to the "show" alone, but it is the hidden meaning outside the text that the author wants readers to understand. To read the "hidden" behind the words of "beauty in the China Art Museum", we must put them into the specific context of the exhibition of the China Art Museum. In fact, the title itself has revealed the mystery. In addition, each article in the book is accompanied by a corresponding exhibition introduction, which shows that the editor consciously wants to remind the readers from the beginning that the birth and dissemination of these articles are in the original context of the exhibition of the China Art Museum. Only by incorporating them into this original context can we perceive the extraordinary features of the author's vision and mind. As we all know, art museums are places to collect, present and write art history. Many people still believe that when works are collected by high-level art museums, it means they are directly related to art history. Based on this, the curator of the art museum will take "history" as the main line as the basic academic position and curatorial concept to constantly summarize, summarize, study and discover the collection. Many permanent exhibitions or collection exhibitions of the art museum are carried out around the collection, combing the academic context with historical logic or social historical view. The exhibition narrative of the Art Museum has always maintained an interactive relationship with art history. On the one hand, the research results of art history will affect the collection and exhibition of art museums; On the other hand, some concepts and forms of the exhibition narrative of the art museum will also have an impact on the research of art history, and even form a supplement or even re writing to the existing art history. Therefore, Art Museum exhibition is a phenomenon of art history, which belongs to a part of art history. The structure and arrangement of this book also reflects the logic of "history" to a great extent, so its content naturally has the exhibition narrative of the art museum. With the identity and vision of the curator, especially the chief curator of the China Art Museum, Wu Weishan re examined the history of Chinese and foreign art and studied it according to his own understanding. At this point, we should return to the richness of the author's cross-border identity and the particularity of the article's expression context. As the curator of the National Art Museum, Wu Weishan's views expressed in the exhibition of the China Art Museum not only represent himself, but also reflect the position of the country's contemporary culture to a certain extent. For example, the view in the article "thousands of miles of ink rhymes in Eastern Wu - the context and revival of the 600 year Wu School of painting" typically reflects this influence from the author's identity and expression context. Wu Weishan summarized the 600 years of Wu men's painting from the Ming and Qing Dynasties to the present four characteristics: inclusiveness, multi-party integration, implication and unification of art with Taoism. The fourth feature especially highlights the author's standing position and originality. Because if only from the perspective of academic circles, the unified view of painting learning and Taoism in the Ming and Qing dynasties actually hindered the diversified development of landscape painting. For example, the "shigu" of the "four kings" school has always been limited to a fixed number of people, giving up the possibility of more nutritional intake, resulting in a single face and rigid program. If we take history as a mirror and establish the orthodoxy of painting, it seems that there is no pearl and jade ahead. The positive value of Wu Tong's paintings and the correction of the negative value of his paintings can be seen from the positive and negative value of his paintings, but the author can give full play to the positive and negative value of his paintings. Obviously, Wu Weishan is by no means unaware of the disadvantages of the Taoist tradition of painting in the Ming and Qing Dynasties, but he can jump out of the stereotypes caused by the narrow space and time, and see the important role of the Taoist consciousness in connecting individuals with the pulse of the times and integrating into cultural traditions. For nearly a hundred years, Chinese art has been deeply influenced by the west, and even followed suit behind it. The weakness of Chinese culture and art has also been fully analyzed and criticized in these hundred years, but criticism does not mean negation, let alone construction. Today, the Chinese nation is on the road of great rejuvenation. This road of rejuvenation itself is also a journey of root seeking and a process of rebuilding self-confidence. Criticizing tradition is valuable, but at this time, the recognition of tradition is of more practical significance for the great rejuvenation of the nation. Tradition is not a dusty past, not a static and stereotyped existence. It contains the past, presents the present and opens the future. It is an inseparable and continuous stream. We should not stipulate the tradition, but keep pace with the times and make it always in the process of creative transformation and innovative development. Therefore, Wu Weishan examines the tradition and focuses on the future rather than the past. He looked back at history from the perspective of the future, explored more possible sources, and emphasized the reconstruction of tradition. On this basis, Wu Weishan put forward the requirements and hopes of "reconstructing the tradition of painting in the process of contemporary Chinese modernization and the construction of new culture" and "making individual artistic creation surpass its own significance, sublimate and move towards immortality in the demonstration of tradition". Because of this, we can see that Wu Weishan is full of tolerance and warmth to the whole art history. He hopes to explore and present the positive factors in painters, painting schools and even painting history - this is not only a gesture, but also a state of mind and a state of mind. Wu Weishan's monograph 2. Master and art history Wu Weishan's way of thinking towards tradition is holistic and organic. Therefore, he can constantly refresh his perspective according to different contexts and purposes, and truly endow and determine the tradition with the present and the future. The book "beauty in the Chinese Art Museum" contains his long preface for the exhibition of several modern Chinese painting masters, which is well written and full of ink. For example, in "Huang Binhong: thick Hua Zi my nation", Wu Weishan threw out a "soul question": "why is it so difficult to understand and interpret a real art master?" Then, starting with the influence of Huang Binhong on the art history behind him, he chose Lin Sanzhi and Li Keran, Huang Binhong's two most typical disciples, as representatives, and consciously distinguished the two fields of calligraphy and painting, which not only vividly reflected the noble demeanor of a generation of art masters, such as the confluence of hundreds of rivers and the source of thousands of rivers, but also highlighted that the spread and evolution of context must be realized in innovation. From the study of Fu's works of art, we can directly understand the cultural characteristics of the times. From the study of Fu's works of art, we can find the most profound cultural characteristics. From the accumulation of time and space to the accumulation of culture. From this, we can directly understand the cultural characteristics of Wu's works of art, Then we can know the evolution of art ecology in the comparison. It is precisely in this way that Wu Shan's "self-confidence" can convey the most clear meaning of his "anti history", and only in this way can he fully express his "anti history" and become a model of art