内容提要
自第十届全国美展以来，中国当代美术历经了五年发展，愈发呈现出繁荣多样的喜人局面。中华文化有着强大的凝聚力和感召力，祖国内地与香港、澳门、台湾的美术家从未像今天如此紧密地团结在一起，或畅叙同胞之情，或俯察世界万象，或切磋艺文学术，或游历山川自然，共同谱写着中国当代美术的盛世华章。
从第九届全国美展增设港澳台展区以来，全国美展便成为两岸四地美术交流的重要平台。精英荟萃，佳作迭出，全国美展在港澳台地区的声誉日隆，港澳台美术家参加全国美展的热情日益高涨，其殷切之情充分体现于众多的参展作品上。这些作品以丰富的题材和多元的风格彰显出时代性、地域文化特征和创新意识，为全国美展带来了新活力，也为内地美术创作带来诸多有益启示。从交流到促进，在可预见的将来，一个由两岸四地美术家共同推进的中国当代美术大繁荣格局，必将呈现于世界艺术之林。
从艺术史的角度看，港澳台美术在中国美术格局中独标一格，并非仅仅源于地缘关系，更重要的还在于它独有的个性与价值。自晚明始，港澳就是中西文化交流的桥头堡和枢纽。西方文化由此北上，经数百年之坎坷形成中西合璧的文化景观。作为现代美术肇启端绪之地，港澳美术始终引领着中西艺术合璧风气，体现出高度的文化自觉和语言的开放性，一切皆为我用而又不失却主体性，同时，港澳美术对中华传统文化一直保持着高度尊敬，一直视其为自己的文化根脉和发展资源。缘此两点，港澳美术得以在历史的进程中通变有序，代有佳作，生生不息。台湾美术自20世纪90年代始，在西方当代艺术冲击下形成超多元现象，表现出开放的“国际主义”倾向。而这一进程，非但未削弱反而强化了中华文脉的现代延伸，由此，构成了台湾当代美术的深层意识和价值内核。面对本次展览的港澳台参展作品，我们不难感受到上述种种特色。
第十一届全国美展港澳台展区，入选作品共210件（其中香港120件、澳门43件、台湾47件），从中提名优秀作品35件（其中香港22件、澳门4件、台湾9件）。从参展作品类型看，有中国画100件，油画和其他画种95件，雕塑15件，仍以中国画、油画、漆画、水彩画、版画、综合材料和雕塑为主。
参展作品给人的突出印象，是时代气息扑面而来，令人精神振奋。近几年来，祖国内地与港澳台地区间的经贸往来及文化交流十分频繁，面对这些地区的社会生活和文化景观所发生的巨大变化，置身其中的艺术家们有深刻的感受和体验。艺术家的心灵感受和丰富的个人经验，成为其创作动力，也促成了他们独特的价值判断。无论是关于都市巨变的宏大叙事，还是日常生活的婉约描述，无论是探索当代人的精神状态，还是关注生态与环境的历史变迁，在参展作品中都有独特的表达。由此，参展作品呈现出题材内容的丰富性，也鲜明地表现出艺术家们的社会责任心和人文关怀精神。更令人欣喜的是，自上届美展以来，港澳台三地艺术家在艺术探索、形式创新上迈开了更大的脚步。其中，中国画所取得的成就尤让人瞩目。艺术家们在面对水墨如何表达都市生活，传统山水、花鸟样式如何在探讨现代视觉转换的同时，又在延伸传统文脉等课题上孜孜以求。历经数年实验与积累，一种可称为“新水墨”的画风已雏形略具，这是阶段性的喜人成果。这些成果，对内地中国画的发展亦具借鉴意义。在油画、水彩、版画、雕塑等领域，新材料运用、新语言形态的开拓性成果也比比皆是。特别值得提及的，是参展作品大都出自中青年艺术家之手。当今的港澳台美术，已是中青年艺术家纵横捭阖之地，其生机勃勃的青春气息令人振奋。
两岸四地美术能有今天的繁荣局面，端赖于中国国力强盛和文化传统的深厚。在这个伟大时代，两岸四地美术正爆发出前所未有的创造力，而这正是中华文化复兴的希望所在。两岸四地美术将为中华文化伟大复兴做出应有贡献。对此，我们充满期待。
全国美展港澳台展区的组织工作，面临诸多困难。组委会以高度的责任心和专业精神，克服困难，并在中国美术家协会具体指导下，在汕头市政府、市文联、市美协、市文化局的大力支持下，组委会负责人和工作人员先后赴港澳台地区考察交流，如期完成了作品的征集工作。两岸四地艺术家、评论家和文化机构负责人组成的评委会，以艺术质量为宗旨，本着公正原则和负责精神展开评选工作。展品兼顾港澳台三地作品的地域特色，注意到既有风格上的独特性，又有艺术上的代表性。在工作过程中，香港特区艺术发展局、澳门特区文化局予以诸多帮助，不仅保证了作品征集及评选工作顺利开展，保证了展览的成功举办，也为今后此类展览的组织工作，积累了新鲜的经验。
Since the Tenth National Exhibition of Fine Arts, China’s contemporary fine arts has witnessed another five years of development, taking a more prosperous and delightful situation. Chinese culture has had strong cohesion and inspiration while the artists in the mainland and in Hong Kong, Macao and Taiwan have never intimately unified before as today. They narrate the passion of compatriots, or observe phenomena of the world, or discuss literature and culture, or travel around mountains and rivers, jointly writing the brilliant chapters of China’s contemporary fine arts.
Since HK, Macao and Taiwan exhibition areas were first established in the Ninth National Exhibition of Fine Arts, the national exhibition of fine arts has become an important platform of fine arts exchange among the four places across the strait. With elite gathered and excellent works presented, the national exhibition of fine arts has enjoyed increasing popularity in HK, Macao and Taiwan while the artists have more passion and eagerness to take part in the exhibition, fully reflected in the large amount of exhibited works. These works, upon their rich themes and diversified styles, make prominent their era spirit, regional culture feature and innovative awareness, bringing new vitality to the national exhibition of fine arts and many helpful revelation for the fine arts innovation in the mainland. In the foreseeable future, as shown from exchange to promotion, a grand prosperous situation of China’s contemporary fine arts jointly pushed by artists of the four places across the strait must stand firmly among the stage of world arts.
From the perspective of history of arts, the unique position of HK, Macao and Taiwan fine arts on the stage of China’s fine arts is derived not only from their geographical location, but also from their unique characters and values all the more. Since late Ming Dynasty, HK and Macao have always been the bridgehead and hinge of Chinese and western culture exchange. Western culture moved northward via HK and Macao, and formed a situation of integrating Chinese and western culture features following hundreds of years of ups and downs. As the origin of modern fine arts, HK and Macao fine arts have always led the style of Chinese and western arts integration, showing their strong culture self-willingness and linguistic openness, and their nature of borrowing every advantage of overseas culture yet remaining independent. Meanwhile, HK and Macao fine arts has always highly respected traditional Chinese culture, and regarded it as their cultural trace and source for development. As such, HK and Macao fine arts have changed in an orderly manner in the history with excellent work appearing in generations endlessly. Since 1990s, Taiwan fine arts has formed a super-multi-diversified situation under the impact of contemporary western arts and demonstrated an open “international” trend. Such process strengthened, but not weakened the modern extension of Chinese culture trace, which in turn constituted the deep consciousness and core values of contemporary Taiwan fine arts. Confronted with exhibited works from HK, Macao and Taiwan in this exhibition, we are easy to sense the features above.
There are 210 pieces of work selected (including 91 pieces from HK, 36 from Macao and 33 from Taiwan) in the HK, Macao and Taiwan exhibition areas in the Eleventh National Exhibition of Fine Arts, and 35 pieces of excellent work nominated from them (including 22 pieces from HK, 4 from Macao and 9 from Taiwan). In terms of type of work exhibited, there are 100 pieces of traditional Chinese painting, 95 pieces of oil painting and other type of painting, and 15 pieces of sculpture while traditional Chinese painting, oil painting, lacquer painting, watercolor painting, print, comprehensive material and sculpture are the main types.
The deep impression left by the exhibited works is their strong and invigorating sense of era. In recent years, the economic and cultural exchange between the mainland and HK, Macao and Taiwan has been rather frequent. Confronted with great changes of social life and cultural scenes taken place in these areas, the local artists have profound feeling and rich experience, that as the momentum for innovation, have built their unique value judgment. Grand narration concerned with great changes in the cities and gentle description of daily life, exploration of spiritual state of contemporary persons and concern with historical changes of ecology and environment are all expressed in the exhibited works in a unique manner. As such, the exhibited works reflect the diversified themes and freshly show the social accountability and humanist concern of the artists. More delightfully, artists from the three places have made great leap forward in terms of arts exploration and innovation of forms. In particular, the achievements made in traditional Chinese painting are the most prominent. Artists have worked hard on how to express urban life with inkwash, and how to realize modern visionary transformation while extending traditional culture trace in traditional mountain and river paintings and flower and bird paintings. Following years of experiment and experience accumulation, a painting style of so-called “neo inkwash” has come into being, a delightful result in a stage. Such result is worth borrowing for the development of traditional Chinese painting in the mainland. In addition, in such fields as oil painting, watercolor painting, print, and sculpture, there are many pioneering achievements of application of new materials and exploration of new art languages. It’s worth mentioning that most exhibited works are made by middle-aged and young artists. Contemporary fine arts has become a stage on which middle-aged and young artists in the three places play their full roles, with encouraging and dynamic vitality of youth.
The prosperous situation of fine arts in the four places across the strait today is primarily attributable to the strong national strength of China and its profound cultural traditions. In such a great age, an unprecedented power of creation is bursting out in the field of fine arts in the four places across the strait, which is exactly the expectation of revitalizing Chinese culture. The fine arts in the four places across the strait must make their obligatory contribution for the great revitalization of Chinese culture, for which we are full of expectation.
The organization of the HK, Macao and Taiwan exhibition areas of the national exhibition of fine arts is confronted with many difficulties. The organizing committee has overcome the difficulties with high responsibility and specialization spirit. Under the instruction of China Artists Association and with the great support from Shantou Municipal Government, Shantou Federation of Literary and Art Circles, Shantou Artists Association and Shantou Culture Bureau, the head and staff of the organizing committee have made investigations and exchanges in HK, Macao and Taiwan, and accomplished the collection of works as schedule. The judge committee composed of artists, commentators and culture institute heads from the four places across the strait has carried out appraisals and selections with arts quality as the objective and fairness principle and responsible spirit. The exhibited works have regional features of the three places, giving attention to unique styles and representation of arts. In such course, Hong Kong Art Development Council and Cultural Affairs Bureau of Macao Special Administrative Region extended much help, ensuring smooth collection and appraisal of works, and the success of this exhibition, accumulating new experience for the organization of exhibition of fine arts to be held between the mainland and HK, Macao in the future.
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