在这个被艺术品市场刺激得越来越功利的时代,人们似乎已习惯于用市场标准来判断和衡定艺术的兴衰。同样,当代艺术的繁荣和样式的多元化,也让一些人轻率而肤浅地断定绘画已走向衰亡。自从伦敦的萨奇画廊(saatchi)卖掉了达明·赫斯特的重要装置作品,转而开始大力收藏绘画作品,被业内人士视为艺术市场的新趋向,收藏家们便开始疯狂地购买绘画作品,在北京、上海这种收藏势头更是强劲,很多年轻艺术家的作品油色未干,就已经易手。于是一种关于“绘画的确开始回潮”的声音叫得越来越响了。然而,稍微有些常识的人们就会发现,事实上,这实在不是针对艺术家自身工作的准确而现实的描述,因为 In this era of being increasingly utilitarian by the art market, people seem accustomed to using market standards to judge and balance the rise and fall of the arts. In the same vein, the prosperity of contemporary art and the diversification of styles have also made some people arrogant and superficial to conclude that painting has come to a decline. Since London’s Saatchi sold Damien Hearst’s major installations and turned his efforts to collecting paintings, as the industry’s new trend in the art market, collectors began crazily buying Painting works in Beijing, Shanghai, the momentum of this collection is even stronger, many young artists have never seen before, it has been changed hands. So a voice about “the beginning of a resurgence of painting” was louder and louder. However, a little common sense people will find that in fact, this is really not an accurate and realistic description of the artist’s own work because