现代性的概念潜力

The Conceptual Potential of Modernity

一为什么需要概念？ 人们之所以需要概念，是为了更好地言说，交流看法．并形成对于概念所指事物的共识。因此，概念出于必需才被创造出来。然而，大量多余的概念总在日常生活中纷扰不已．不唯不能对事物有所认识，反而混淆视听，形成一个虚假的概念世界。奥康姆的剃刀原则要求剔除任何一个不必要的实体．其真实含义却是“剔除任何一个不必要的概念”。

The essence of artistic modernity in my opinion, is that art runs toward its autonomous, Yet in the 20th century Chinese art history, there is a trend of exactly the opposite direction. Autonomy of art means a process of departure： the first is its departure from the institute of the religious and the pofifical, the second is its departure from the system of market. Though an artist may not totally avoid the influence of the market. yet those who keep their commitments of artistic modernity can at least do their best not to betray their esthetic standards. In term of this idea, I suggest that the 20th century Chinese art has been approaching to an opposite direction to the artistic autonomy. In its first half period, Chinese fine art has been enveloped under the communist ideology and the most influence idea is that art must serve the political needs, which is most expressed in the thought of Mac and his artistic agent, Xu Beihong （Hsu Pei-hung, 1895-1953）. In the second half period, especially since 90s, Chinese contemporary art, including those of avant-garde, is basically market-oriented, and has become the manipulative object of investment and international fund. In the process of this period, few contemporary artists can keep their commitment to the artistic modernity and its aesthetic mission, with only a few are still adhere to the idealism which shortly blossomed in the 80s of the last century.