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www.artron.net November 1 2013 Headline
A Series Research on Art People - Zhu Wei: Contemporary Ink and Wash Is Not the Dead-Cat Bounce of Traditional Ink and Wash
[Editor's Note] Without the aid of various Western art languages experimented in turns, when we look at Zhu Wei's ink paintings, we could easily seize his techniques of outlining, drawing, spotting, coloring and shading which are all from ancient China, however, through which a scene of reality comes toward us, and it's a contemporary visual experience that is subtle and restrained, full of the typical Zhu Wei's speculative temperament. The works created by Zhu Wei reveal a strong significance of contemporary and sense of the times, showing the artist's concentration on people's living conditions and his personal experience accumulated from the Chinese cultural landscapes in process. In Zhu Wei's painting series of different periods such as Descended from the Red Flags, Utopia, Beijing Story, Curtain, Vernal Equinox, The Ink and Wash Research Lectures series, the artist used boneless skills on paper which had been antiqued beforehand and produced a strong effect of alienation. By juxtaposing objects of different space and different time in the same picture, his paintings let viewers ponder about our history and reality. On November 3 2013, Zhu Wei's solo exhibition opened in Today Art Museum. This exhibition applied the combination of both his ink paintings over the years and literatures related to these paintings, from which we can observe the reference between the creation of contemporary ink paintings and the development of the times. To know more about this, our Artron reporter interviewed artist Zhu Wei.
The interviewee: Artist Zhu Wei
The Interviewer: Editor-in-Chief (report department of Artron.net) Pei Gang
Pei Gang: The artworks shown in your solo exhibition were created in various time periods. From your point of view, has your creation changed? If so, could you tell us what the changes are?
Zhu Wei: For three decades since 1988, in works such as The Story of Beijing, Sweet Life, Pictures of the Strikingly Bizarre, Vernal Equinox, until latest Hills Beyond A River, The Ink and Wash Research Lectures series I slowly experienced the transforming from narrativity at the beginning to conceptuality at present, which took me almost thirty years. In fact it's the transforming of the whole Chinese society as well, because we common people are not the policymakers, and we could only through the changing phenomenon, a point by a point, one thing after another, then got to understand what the whole routine was, and what were the changes which had already happened, including the changes happened on ourselves.
Pei Gang: What do you think is the fundamental difference between the "contemporary ink and wash" and the traditional ink and wash?
Zhu Wei: Contemporary ink paintings emphasize on contemporary. It's not a dead-cat bounce of traditional ink and wash. It shares a same standard with the contemporary art which is the intervention in real life. This is also a measurement applying to all kinds of contemporary art genres, including literature, drama, music, dancing, movie and television.
Pei Gang: Ink and wash is a medium which contains both "freehand brushwork" and "meticulous brushwork", and you have chosen meticulous brushwork. Is there any special meaning to choose such a medium to depict the reality?
Zhu Wei: Meticulous brushwork is just one step away from artisan painting, which indeed challenges a painter's ability. Some meticulous painters could not or would not face the current situations, and they could not or would not feel the pulse of reality, so they twisted and turned to paint some decorative things. This kind of paintings is, at best, advanced artisan paintings. And it's also one of the reasons why ink painting has been neglected.
Pei Gang: The creation of traditional Chinese painting began with "imitate the ancients". What are the clues and methods you adopted in each stage of your creation?
Zhu Wei: The techniques passed down from the ancients are quite enough to express our present life. Contemporary oil painters in the west never felt their oil techniques are not enough, and they never sat down together to discuss whether their techniques should be modernized. I believe ink techniques have no problem at all. My creation these years is a process of studying from and saluting to the ancients step by step.
Pei Gang: Do you think in Chinese paintings, the traditional poetry, calligraphy, picture and seal can all reflect a literati's self-cultivation and his view of reality? In your early paintings you often inscribed lyrics of rock and roll as part of your work. What the difference between your kind of inscription and the traditional poetries? What the role did it play in your contemporary ink paintings?
Zhu Wei: This was a set of formulas to determine a real literati, through which one could identify whether a literati had courage and knowledge that he should have. Many ancient literatus were braver than military commanders at their times, not like the so called and mistakenly regarded as literatus today, who are just flirting around and cheating around.
Pei Gang: How do you think about the significance of your contemporary ink paintings in the context of globalization when many Chinese artists are using the western concepts in their ink experiments?
Zhu Wei: Experimental ink and wash is a genre never appeared in the history of ink painting. It's a mixture of western contemporary theory and installation, while it does not exclude the traditional culture. I hold a positive attitude toward it. Relatively speaking, what I do is still easel figurative art without a significance of revolution. My 20 years of creation is just a stumbling exploration with runny nose and watery eyes, to find out how the ink and wash could enter the contemporary world, no more contribution except that.
The Personalization Trend of Contemporary Ink and Wash
Pei Gang: If an "Underworld (Jiang-Hu)" does exist in the art circle, is there any "underworld" in ink and wash circle? What's the shape of the underworld?
Zhu Wei: The underworld only exists outside the official system, while in the system it's called factions. For example the warlords fighting and various Kung Fu schools striving for hegemony are both underworld struggles, because each group has different ideas, coordinates, guiding ideologies, rules and taboos; they have different ways to make a living; they don't associate with each other that much. In the system is another world. The Kuomintang troops in the past were divided into different fractions, including central army and local armies, within the local armies there were northwest army, northeast army, Shan army, Jin army, Dian army, Xiang army, Chuan army, etc., but all armies are under the control of the national government, their fund and food were allocated from the national government uniformly, and they had to supported each other in the war. Although sometimes the conflictions between them were so serious that nearly caught fire, they still shared the same fundamental interests, and they were on the same boat. They just fought for attention, and that are fractions.
Pei Gang: If viewed from an angle of feeding, the artists can be divided into in-the-system and outside-the-system. Can the in-the-system artists be subdivided into various fractions or different schools by region? Are there any art groups made up of the outside-the-system artists? What are their concepts and propositions? For example: the ink and wash practice by artists such as Li Huayi, Zheng Zhongbin who are abroad, the art practice by artists such as Zhang Jiangzhou, Lu Yushun who are in the system, the self-employed artists outside the system, and different schools of north and south, etc.
Zhu Wei: The biggest change the reform and opening-up brought to Chinese art ecology is that artists can survive by their artworks. Good artists no longer need to depend on painting academies, institutions, schools and so on which are supported by taxpayers. This is a primary improvement or we can call it a return. The contemporary F4, F5, or F6 whom we are familiar with were not in the system from the beginning or resigned from the system later. The destructions and reforms for more than a hundred years made ink painters, except few of them, can not make a living by their own artworks. How many ink painters are there in the well known painters' villages, such Yuanmingyuan, Songzhuang, Cuigezhuang, or Caochangdi? Counting on in-the-system institutions, ink and wash will become another intangible cultural heritage, like acrobatics. It won't extinct, but without the powerful support from the masses, it will be lifeless, and impossible for any innovations or development. What had happened to ink paintings since May Fourth Movement is an example. So the most important issue is whether ink and wash paintings can really survive by itself, and furthermore, live well.
Pei Gang: Could you tell us how the trend of personalization was formed? Comparing with the developments and changes of contemporary art in the west, could you tell us what the academic basis of the trend? And how it works on ink painting?
Zhu Wei: Personalization is the original intention and essence of art creation, and the final result as well. Creating art is not the group callisthenic, not an activity being homogenous, neatly arranged, one-size-fits-all, otherwise, all museums could be replaced by photo shops. The western contemporary art emphasized more and more on personal characteristics and artist's personality, however, in the beginning they were also like a group of hunters heading out to shoot wolves, whose collective appearance were integrated as impressionism, post impressionism, cubism, expressionism, abstract, dada, surrealism, and so on. After exploration and development for decades of years, the western artists has been more mature and some individual artists, such as Andy Warhol, Damien Hearst, Geoff Koons, Gerhard Richter, Richard Prince and so on who are showing strong personal characteristics in their installations, photography, sculptures and paintings can coexist respectively at the same time. Our contemporary art began late and has risen by imitation, so both its theory and the artists' behavior are copying the early stage of our western peers. We are accustomed to identify them by their collective appearance such as F4, F5, etc. In fact, according to the western standard of contemporary art, a single artist is enough to represent a genre. Contemporary ink and wash should share the same standard with the western contemporary art. It is not handicapped, not needing special treatment. It should not act like a child who is always telling others his distinguishing features. Who don't have distinguishing features? Not to mention acting like an underdog who is always telling others it hasn't been easy for them. Who's easy?
The Appeal of Cultural Identity of Contemporary Ink and Wash
Pei Gang: Do you think to promote contemporary ink and wash is the appeal of Chinese cultural identity in the context of globalized superpower competition?
Zhu Wei: At the beginning of last century, we were anxious to name and relocate the ink painting which we had painted for thousands of years, because at that time the western oil painting had come into China. As a matter of fact, in the late Ming and early Qing Dynasty, oil painting had been brought into China by some missionaries, but it didn't cause the public's attention. Although the Italian painters Giuseppe Castiglione, Giuseppe Panzi and French painter Jean Denis Attiret had been working in the system for the Qing Dynasty for many years, they had not affected other Chinese painters, on the contrary they were often despised. After living dozens of years in China, they had been influenced by Chinese painting, and transformed their oil paintings into meticulous brushwork oil paintings. In the late Qing Dynasty and early period of the republic of China, due to the May Fourth Movement, many Chinese oil painters who returned from studying abroad started to run a class or a school, to organize oil painting research society, to establish oil painting base, to set up oil painting cram schools, and so on, to promote western aesthetics, advocating the importance of the solid basis of sketching and rigorous modeling techniques as well as the body art, and the debate between Xu Beihong and Xu Zhimo about modern western painters appeared... all of which were what those western missionary like Matteo Ricci or painters like Giuseppe Castiglione and Jean Denis Attiret felt impossible or embarrassing to do. Being different from a military conflict, a culture in the culture war cannot be destroyed by collaborating from outside with the inside, but be destroyed by self crash and self disintegration. Corresponding to the word "western painting", a new word "Chinese painting" was created, which also made a start for later names such as "ink and colour painting", "traditional Chinese painting", "Chinese monochromes", etc.
The name "ink and wash" or "ink painting" is another new name after 1985. In order to rush out of Asia and walk up to the world, in order to be in line with the international, the new name should be not so annoying, and it should be friendly, thus inspired by the name of oil painting, this new name also came from its materials. Imagine if the oil painting was called Italian painting, Dutch painting or Netherlandish painting, how can we still learn so hard to paint it? Now we completely forgot the oil painting was an outsider, and tens of thousands of entrance exam candidates including their parents are so proud of being admitted by the department of oil painting.
Experimental ink is a new genre that never appeared before in the Chinese ink painting history. In form it is close to behavioral art and installation, and in content it is close to concept art, which is deeply influenced by the western philosophy and contemporary art theory. I instinctively like the things with consciousness of exploration and innovation. Experimental ink is likely to be a path to internationalization.
Today to be parallel with the contemporary oil painting, we hastily changed our ink painting to contemporary ink painting, and it went so far as to reach a tacit understanding, without even one person to stand out to ask a single question. It is thus clear that after more than one hundred years of May Fourth Movement, Cultural Revolution, Reform and Opening Up, and so on, how open our minds has become today, how deep criticism and self-criticism has rooted among the people, and how strong our ability of self denial and self disintegrating is. This is the current living environment and conditions of the painting which passed down from our ancestors to us through thousands of years.
Pei Gang: During the transformation from the agricultural civilization to the industrial and commercial civilization in Chinese society, inevitably, the contemporary ink and wash will also be pushed by the capital market for its development. In your opinion, how does the market evolve? And in the context of both identity anxiety and capital pressure, what is the relationship between the collective feature of our national culture and the more and more personalized ink painting creation?
Zhu Wei: A harmonious, normal and not distorted market should take millions of ordinary collectors as the core. The western has already done it, that's why their culture and art has strong vitality and ability to continuous exploration. As a result, many famous outstanding artists survive without relying on the government or speculators. Even if there is capital driving force behind it, at last it still needs millions of ordinary collectors to pay the bill. A good artist must be supported by hundreds or even thousands of appreciators who would like to buy his works, which make it's possible for the artist to have time to concentrate on his creation and repay these "employers" who love art. Whether there are a number of art collectors in a country is related to whether the people in this country are wealthy. Never heard that someone is on his way fleeing from famine, as hungry as a starving dog, while he is still eager for a piece of artwork.
China has been an agricultural civilization for thousands of years, but the people had a good live in the past with many ordinary families keeping the habit of collecting art in a high level. The renowned American scholar James Cahill who studied Chinese ancient paintings mentioned a story in his book How Artists Lived and Worked in Traditional China: A collector was very fond of the paintings by a painter who was of high principles. Windy or rainy every day, he went to the hills in front of the village the painter lived, or climbed up to a tree in the village, to observe whether the chimney of the painter's house was smoking. If it wasn't smoking, it meant the painter ran out of food, so that he could bring food, good papers and ink, to visit the painter for asking for his painting. In Song Dynasty, China's GDP was 80% of total GDP of the whole world, and the per capita income equaled to 2280 us dollars at that time in China. In Yuan Dynasty the percentage was 35%, Ming Dynasty was 45%, and Qing Dynasty was 40% to 45%. In early Qing Dynasty China's GDP was still no.1 in the world, until after The Treaty of Shimonosekiin in 1895, China was replaced by USA and became no.2. In 2010 China came back to the no.2 position, however our income per capita was no.127. In 2006 our per capita income was 2016 us dollars, one-twentieth of USA's, which was 44000.
Conclusion
In the preface of Zhu Wei's solo exhibition, there is a paragraph written by Li Xiaoshan, the director of Art Museum of Nanjing University of the Art, in which he described Zhu Wei as "Zhu Wei and his work have become a mirror of contemporary Chinese art. Zhu Wei has penetrated the depths of reality with his extraordinary wit and sharpness, and opened a new door for the public to acquaint themselves with Chinese contemporary art through his works, which are lively and rich in visual tension." The style of Zhu Wei's artwork is consistent with his style of oral and written language, and, referring to this paragraph, with "sharpness" and "tension".
雅昌艺术网二零一三年十一月一日头条
艺术人物调查系列之朱伟：当代水墨不是传统水墨的诈尸
【编者按】看朱伟的水墨作品，没有借助西方各种语言的轮番实验，很容易找到古人用过的各种勾、描、点、染、皴法，但扑面而来的却是穿过这些技艺的现实景观，而这些当代视觉经验含蓄而内敛，充满朱伟式的思辨气质。朱伟作品所显现出的强烈的当代性和时代意识，是艺术家对今天人的生存状态的关注和对中国文化今日景观的个人体验。朱伟各个时期的系列作品如《红旗下的蛋》、《乌托邦》、《北京故事》、《帷幕》、《乌托邦》、《开春图》、《水墨研究课徒》等等系列作品，以没骨画法在做旧了的底子上再作画使作品产生强烈的间离效果，不同时空和不同文化景观并置、融合在同一个画面上。使观者产生对历史与现实的多重思考。2013年11月3日，朱伟在今日美术馆的个展开幕了，不仅有各个时期的作品，同时也从各个时期的作品和文献中可以观察当代水墨的创作与时代发展变化的对照，因此雅昌艺术网采访了朱伟。
被采访人：艺术家 朱伟
采访者：雅昌艺术网报道部主编 裴刚
裴刚：此次个展的作品包括那几个时间段的，从您的角度来看，您的创作是否有变化，如果有请介绍有哪些变化?
朱伟：1988年到现在三个十年，包括《北京故事》《甜蜜的生活》《二刻拍案惊奇》《开春图》以及最近的的《隔江山色》《水墨研究课徒》。从开始的叙事性到现在的观念性，用了近三十年慢慢的转变。这其实也是整个中国社会发生变化的过程，因为我们普通百姓不是政策的制定者，大家只能通过不断出现的现象，一个一个点，面，最后才咂摸出整个线路明白了包括自身在内究竟出现了多大的改变。
裴刚：在您看来“当代水墨”与传统水墨根本的差异在哪里?
朱伟：当代水墨强调的是当代性，不是传统水墨的诈尸，它和当代艺术的标准是相同的就是干预现实生活，这也是衡量一切当代艺术形式的标准，包括文学，戏剧，音乐，舞蹈，电影电视。
裴刚：水墨作为一种媒介，把“写意”和“工笔”统统拦在麾下，您的绘画选择了工笔，“工笔”对于现实的表达是否有它的特殊意义?
朱伟：工笔画与行画只一步之遥，很考验画家的能力，有些工笔画因为无法或不愿面对当下，难以把脉或不愿意把脉现实，只是左躲右闪画些装饰性的东西，撑死了也就算是个高级行画，这也就是水墨画一直不招人待见的原因之一。
裴刚：传统中国画的创作方法是从“师法古人”开始的，您的创作方法和各个阶段是怎样的线索和方法?
朱伟：古人传下来得技法完全够用，那它表现当下的生活就够了，西方当代艺术当代油画从没觉得技法不够用，也从没坐下来讨论过油画能不能当代的问题，我相信水墨当代一点问题都没有，我这么多年来创作的过程就是一步步向古人学习致敬的过程。
裴刚：中国画传统的诗、书、画、印在反应文人的各方面的修养和对现实的看法?您早期的工笔画人物中常常以摇滚乐的歌词作为您作品的一部分，这样的方式与中国画传统中的题诗差异在那里，在您的当代水墨作品中起到怎样的作用?
朱伟：这一套东西是古时掂量文人程色的一种标准，通过它来辨识文人是否具备所应有的胆识和学识，古代的文人很多比武将还有气性，不是现在我们误以为的到处沾花惹草指指点点骗吃骗喝的所谓文人。
裴刚：您如何看当代水墨在全球化的背景下，中国艺术家也在借鉴西方的观念对水墨材料的试验，您怎么看自己的当代水墨作品的意义?
朱伟：实验水墨是水墨画历史上从未有过的一个品种，它是使西方当代理论和装置艺术的混合体同时它不排斥传统文化，我对它持积极的态度。相对来说我做的还是架上具象的工作，不具备革命意义，我这二十几年的创作只是鼻涕眼泪，跟头把式的摸索了水墨能否进入当代题材，除此之外无任何贡献。
当代水墨的个人化趋势
裴刚：如果说艺术存在一个“江湖”，水墨这个画种是否也存在一个“江湖”?这个江湖的形态是怎样的?
朱伟：江湖只存在于体制之外，体制内的那叫派系。举个例子，军阀混战武林争霸其实就是江湖斗争。因为每一拨人都有不同的理念坐标，指导思想以及各种禁忌;有不同的家规行规做派以及行事规则;有各自的经济来源生存方法;互相不怎么往来。体制内则不同，当年国民党军队山头林立，有中央军有地方军，地方军又分西北军、东北军、陕军、晋军、滇军、湘军、川军等，但都是在国民政府的统一领导下，经费军饷国民政府统一拨发，战斗中还是要互相支援配合。尽管有矛盾有的甚至积怨很深到了擦枪走火的地步，但基本利益一致，彼此半斤八两大同小异，有的仅仅是为了争宠，只能算是派系斗争。
裴刚：从供养的角度有体制内和体制外，体制内是否可以细分出不同的流派、区域的不同样态?体制外又有哪些艺术家形成的不同艺术群体?他们各自不同的观念和主张是怎样的?例如：李华弌、郑重宾等在海外的水墨实践，张江舟、卢禹舜等画院体制内艺术家的艺术实践，包括体制外的艺术家个体户，南北各个流派的不同样态。
朱伟：改革开放给中国艺术生态带来的最大变化是艺术家可以靠作品生存，优秀的艺术家不再是只能从体制内的画院、研究院、学院，等等国家纳税人供养的机构出现。这可以说是一次重大的进步或者回归，眼下我们熟悉的当代艺术F4、F5、F6等等很多一开始就不在体制内或者是后来辞去公职出来混的。一百多年来对水墨画的摧残和改良，造成水墨艺术家不能靠画我们自己的水墨画生存，或者说屈指可数。大家所知道的圆明园、通县宋庄、崔各庄、草场地等等画家村，里面有几个画水墨的?水墨画单指望公立的机构只能是让水墨画像杂技一样作为类似于非物质文化遗产保存下来，不至于灭绝，因为没有强大的群众基础，变得没有生命力，发展创新成为不太可能，五四运动以来水墨画的遭遇就是个例证。所以说水墨画能否真正生存下来而且还要活得有滋有味比其它问题都重要。
裴刚：个人化的趋势是如何形成的?对比中西方当代艺术的发展变化，他的学术基础是怎样的?是如何作用于水墨的?
朱伟：个人化是艺术创作的初衷，本质，也是最终结果。艺术创作不是团体操，不讲究千人一面步调一致整齐划一，不然要博物馆干嘛，有照相馆就行了。西方当代艺术发展到现在越来越强调个人特色和艺术家个人化。回顾西方现当代艺术道路，一开始更多的是像打狼似的以集体面貌出现，比如印象派、后期印象派、立体派、表现主义、抽象派、达达、超现实，等等，经过几十年的摸索与发展，时至今日已日趋成熟，出现了像安迪·沃霍、达明·赫斯特、杰夫·昆斯、格哈德·里希特、理查德·普林斯等这些装置、摄影、雕塑、绘画个人特色极强的单个艺术家同时并存的现状。我们的现当代艺术起步晚靠模仿起家，所以理论和艺术家行为方式上还习惯于以集体样貌集体特征来加以辨认，比如F4、F5什么的，其实按西方当代艺术标准，一样的东西有一个出来能代表一下就足够了。当代水墨画和西方当代艺术的标准是完全一样的，水墨画又不是残疾人，没什么需要特殊照顾的，水墨画自己也不要像个孩子似的老强调自己的特色，谁没特色?更不要像弱者一样上来先强调自己不容易，谁容易?
当代水墨的文化身份诉求
裴刚：推动当代水墨的是全球化背景下大国竞争，中国文化身份的诉求?
朱伟：上世纪初我们急于给画了几千年的水墨画定位起名，是因为西方油画的进入。虽然明末清初已有传教士将油画带入中国，但并未引起国人的关注，意大利人郎世宁、潘廷章、法国人王致诚虽然在清朝的体制内画了多年，不但没影响了其他中国画家，还经常被人看不起，十几年下来反而受到中国绘画的影响，把手里的活儿变成了工笔油画。直到清末民初五四运动，大批留洋回来学油画的艺术家办班办学，组织油画研究会，建立油画基地，油画考前班补习班什么的，倡导西方美学，提倡扎实的素描基础严谨的造型技巧，人体写生，以及徐悲鸿和徐志摩关于西方现代画家评价的争论等等，这些是像利玛窦这样的外国传教士，郎世宁王致诚这样的西方画家在中国更本不可能也不好意思做到的。文化战争和军事战争不同，没里应外合这一说法，完全得靠内部自我接受最后自我瓦解取得胜利。为了和洋画相对应国画这词儿出现了，也为以后改叫彩墨画中国画水墨画什么的起了个头。
水墨画是85以后为了更好地和国际接轨冲出亚洲走向世界，不至于招人烦还得具有亲和力，硬着头皮学习油画以材料定名改叫的水墨画。试想如果油画叫意大利画或荷兰画或尼德兰画大家画起来还有现在这么起劲吗?我们现在完全是没把把油画当外人，每年成千上万的考生包括家长都以能考上油画系为荣。
实验水墨是几千年来中国水墨画历史上从未有过的新品种，形式上接近行为艺术和装置，内容接近观念艺术，受西方哲学和当代艺术理论影响很深。我对具有探索创新意识的东西本能的就会有好感，实验水墨很可能是一条国际化的路子。
今天水墨画为了和洋人的当代油画相对应又急忙改叫当代水墨，居然达成了默契。没任何人站出来反对哪怕是发出一声小小的疑问，可见这一百年来经过了五四运动，文化大革命运动，改革开放运动等等，几次运动下来我们变得多么豁得出去，批评和自我批评多么深入人心，自我否定自我瓦解的能力有多强。这也就是我们老祖宗几千年传承下来的绘画现今的生存环境和状态。
裴刚：当代水墨在中国社会有农业文明向工商文明转化的背景下，必然在资本市场的推力下发展，在您看来这个市场是怎样演变的?在身份焦虑与资本推力的作用下，在这个背景下越来越个人化的水墨创作与民族文化的脉络群体的关系是怎样?
朱伟：一个和谐正常不扭曲的市场是以千百万普通收藏家为核心的市场，这些在西方早已做到，所以他们的文化艺术具有很强的生命力和不断探索的动力，我们能叫得出名来的优秀艺术家大师都不是靠国家或炒家养活而生存的。即使是资本推动最后也是要千百万普通藏家买单，一个优秀的艺术家身后一定会有成百上千甚至上万的欣赏者供养者，这样艺术家才能腾出空儿来专心投入创作，回报给热爱艺术的衣食父母们。一个国家艺术品收藏家的大量出现一定和这个国家老百姓的经济实力有关，没听说过谁在逃荒路上饿的跟孙子似的还非要收一件作品。
中国几千年来虽然是农业文明社会但日子一直过得不错，一般家庭都有收藏的习惯，而且都到了一定份儿上。美国著名研究中国古代绘画的学者高居翰在他的《画家生涯》一书里讲了这么个故事：一个村里的藏家为了收藏到一有气节的画家作品，无论刮风下雨，每天都到村口对面山坡上或爬到树上观看画家房子上的烟囱是否冒烟，如果不冒烟了说明画家这两天一定断粮了，他便带着粮食和好纸好墨前去，以求得到画家的作品。宋代的时候GDP占全世界的百分之八十，人均收入2280美元。元代百分之三十五，明代百分之四十五，清代百分之四十至百分之四十五，清初GDP还是世界第一,直到一八九五年《马关条约》才被美国取代位列第二。二零一零年我们的再次排到世界第二，但人均收入排世界第一百二十七。二零零六年人均收入2016美元，美国44000，是美国的二十分之一。
结语
朱伟的这次个展的前言中，有一段从南京艺术学院美术馆馆长李小山对朱伟艺术创作的描述“朱伟和他的作品已经成为中国当代艺术的一面镜子，原因在于：朱伟以他超凡出众的智慧和敏锐穿透了现实的重重幕帘，并以他充满生命气息和视觉张力的作品，向人们洞开了一扇认识中国当代艺术的大门。”朱伟的作品和他的语言、文字风格统一，正像这段文字中提到的，有“穿透力”和“张力”。 |
