After“国族寓言”?—从曾梵志《最后的晚餐》说起

After “National Allegory”? An Analysis based on Zeng Fanzhi's “The Last Supper”

曾梵志画作具有强烈的"国族寓言"性质,"国族寓言"性质是其画作成为包括艺术市场在内的整个艺术界的兴奋源点。艺术品处于日益国际化的艺术界之中,"艺术价值"的判断与一种非传统的体制论艺术观念息息相关,艺术家对这种艺术观念的迎拒往往会左右其作品在国际资本介入的艺术市场中的价值。不过,体制论艺术观念亦有自身的"短板",它亦应吸纳传统功能主义与形而上学的一些理论因素。

ZENG Fanzhi＇s works embodied an obvious feature of ＂national allegory＂, which catches the eyes of the Art-World. Artworks perch in an increasingly inter- nationalized Art-World in which the value of artworks is closely related to the institutional theory of art, instead of the traditional art theory. With more and more international capital＇s entering in current art market, artists＇ attitude and their choice concerning on the institutional theory could greatly influence the market value of their artworks. However, the institutional theory has its own blind spot; therefore, it needs to absorb many factors belonging to traditional functionalist and metaphysical theories on the assessment of artistic value of artworks.