艺术史的三种意义——写在林泉回国之际

The Significance of Personal Art History——Inspired in the Moment of Lin Quan Going Back China

作为一个约定俗成的概念,艺术史被作为一个凝固静止的学术词汇,它承接了西方艺术的创新传承,被一代代的艺术史家写入文本。但艺术史从来不是静止的,相反充满了能动性。它不断地被改写,这种改写一方面是艺术史家的努力,另一方面源自艺术家个体的创造。而决定什么样的艺术家能够写进艺术史,这个问题比艺术史本身更值得思考。成都画家林泉的创作就是个人艺术史企图进入传统艺术史的挑战。这种挑战,昭示了艺术的原生意义,呈现了艺术史的永恒魅力。

As a conventional concept, art history as a static solidification academic vocabulary, it descends the innovation of the western art inheritance and recorded into the art history by historians. But art history has never been static, on the contrary, it is full of initiation. It has been constantly rewritten, on one hand, this adaptation is an effort from the art historian; on the other hand, it is the creation of artists themselves. But what kind of artist can be recorded into the history of art？ This problem is worth more consideration than art itself. Lin Quan, an artist from Chengdu, is trying to challenge personal art history against the traditional art history. This kind of challenge embodies the original meaning of art and presents the eternal charm of art history.