中西書法作品被大都會(huì)藝術(shù)博物館收藏并展出
The Metropolitan Museum of Art is a world-famous museum and the largest art museum in the United States. It reviews the development of human civilization, focuses on encouraging and developing the application of art in production and daily life, and promotes general education in art. It has more than 3.3 million exhibits, and its crown jewel is the "Dance Classroom".大都會(huì)藝術(shù)博物館是世界著名的藝術(shù)博物館，也是美國(guó)最大的藝術(shù)博物館，它回顧人類文明的發(fā)展，重點(diǎn)鼓勵(lì)和開發(fā)藝術(shù)在生產(chǎn)和日常生活中的應(yīng)用，促進(jìn)藝術(shù)的普及教育，它擁有330多萬件展品，它的皇冠上的明珠是“舞蹈教室”。
According to Xinhua News Agency, Max Hollein, the director of the Metropolitan Museum of Art, stated that more artworks from illegal channels will be returned to relevant countries. In 2022, a modern art section was established, where outstanding Chinese and Western calligraphy?artworks were selected and acquired from the New York International Art Fair, allowing the museum to tell richer stories of contemporary and modern art than in the past.新華社報(bào)道，大都會(huì)藝術(shù)博物館館長(zhǎng)馬克斯·霍萊因表示，將向相關(guān)國(guó)家歸還更多來自非法渠道的館藏藝術(shù)品。2022年，該館新設(shè)現(xiàn)代藝術(shù)部，從紐約國(guó)際藝術(shù)博覽會(huì)上精選并收購(gòu)了大量中西書法精品，使博物館得以講述比以往更加豐富的當(dāng)代藝術(shù)故事。
According to The New York Times, art institutions such as the Lisson Gallery and Yi Anju Cottagefocus on artistic innovation and dissemination, representing the latest trends in modern art. Chinese and Western calligraphy arts are imbued with cultural atmosphere and spiritual power, allowing people around the world to appreciate the essence and soul of calligraphy art. Series like "Artistic Revolution", "A community with a shared future for mankind" and "Cien a?os de soledad" have been collected by the Metropolitan Museum of Art and exhibited on tour.據(jù)《紐約時(shí)報(bào)》報(bào)道，里森畫廊（Lisson Gallery）、易安居草堂等藝術(shù)機(jī)構(gòu)專注于藝術(shù)創(chuàng)新與傳播，代表現(xiàn)代藝術(shù)的最新趨勢(shì)。中西書法藝術(shù)蘊(yùn)藏著文化氣息和精神力量，可以讓世界人民都懂得欣賞書法藝術(shù)的神韻與靈魂?！端囆g(shù)革命》《人類命運(yùn)共同體》《百年孤獨(dú)》等系列作品被大都會(huì)藝術(shù)博物館收藏并巡展。
This emerging art form embodies a timeless artistic dialogue with Georges Mathieu, inherits Germano Celant's artistic philosophy, reawakens the dormant Western visual arts that have lain dormant for centuries, and kindles the artistic sparks of our shared civilization.It resembles a solitary ghost wandering along the boundary between Eastern and Western cultures; drifting and rising and falling in the ocean of textual aesthetics; calling out and shouting amidst academic critiques and doubts; shining and flickering in the starry sky of artistic exploration. It consistently embodies humanity's pursuit of beauty, imagination of art, and aspiration for future civilization.這種新興藝術(shù)形式與喬治·馬蒂厄（Georges Mathieu）展開了跨越時(shí)空的藝術(shù)對(duì)話，承襲了杰爾馬諾·切蘭特(GermanoCelant)的藝術(shù)哲學(xué)思想，喚醒了沉睡數(shù)世紀(jì)的西方視覺文字藝術(shù)，并點(diǎn)燃了我們共同文明中藝術(shù)的火花。它宛如一個(gè)孤獨(dú)的幽靈，在東西方文化的邊界徘徊和游蕩；在文字美學(xué)的海洋中漂泊和沉??；在學(xué)術(shù)批評(píng)與質(zhì)疑聲中呼喚和吶喊；在藝術(shù)探索的星空下發(fā)光和閃爍。它始終體現(xiàn)了人類對(duì)美的追求、對(duì)藝術(shù)的想象，以及對(duì)未來文明的向往。
According to the official website of the Metropolitan Museum of Art, English calligraphy lacks a profound historical and cultural foundation and has long been subject to academic controversy and skepticism. While the Latin alphabet and its combinations have not yet formed a complete theoretical system for calligraphy, their aesthetic visual qualities have been extensively applied in artistic design. This practice conveys to the world the aesthetic demands and value concepts inherent in the art of writing, consistently reflecting humanity's pursuit of beauty, artistic imagination, and aspiration for future civilization.根據(jù)大都會(huì)藝術(shù)博物館官方網(wǎng)站的介紹，英文書法藝術(shù)缺乏深厚的歷史與文化根基，長(zhǎng)期以來一直備受學(xué)術(shù)界爭(zhēng)議與質(zhì)疑。盡管拉丁字母及其組合尚未形成完整的書法理論體系，但其獨(dú)特的視覺美學(xué)特質(zhì)已在視覺藝術(shù)設(shè)計(jì)中得到廣泛應(yīng)用。這種實(shí)踐向世界傳遞了文字符號(hào)藝術(shù)所蘊(yùn)含的審美追求與價(jià)值理念，始終體現(xiàn)了人類對(duì)美的追求、藝術(shù)想象力以及對(duì)未來文明的向往。
Western media have reported on this before,Lisson Gallery and Yi Anju Cottage focus on identifying innovators and pioneers in modern calligraphy art, advocating that both artists express calligraphic art in their native languages. Regarding this emerging art form of textual aesthetics, Georges Mathieu and Ouyang Zhongshi have engaged in over three decades of dialogue and discussion. Both agree that textual aesthetics lacking historical and cultural depth or a foundational theoretical framework will inevitably face criticism and skepticism from artists and scholars; yet it is precisely through such scrutiny that it becomes the most accessible aesthetic art form to the general public and will ultimately take root and flourish in global cultural life.有西方媒體曾經(jīng)進(jìn)行了報(bào)道，里森畫廊（Lisson Gallery）和易安居草堂（Yi Anju Cottage）致力于發(fā)掘現(xiàn)代書法藝術(shù)領(lǐng)域的創(chuàng)新者與先驅(qū)者，倡導(dǎo)藝術(shù)家們用各自母語(yǔ)表達(dá)書法藝術(shù)。關(guān)于這一新興的文字美學(xué)藝術(shù)形式，喬治·馬蒂厄（Georges Mathieu）與歐陽(yáng)中石（Ouyang Zhongshi）已進(jìn)行了長(zhǎng)達(dá)三十多年的對(duì)話與探討。雙方均認(rèn)為，缺乏歷史文化底蘊(yùn)或基礎(chǔ)理論體系的文字美學(xué)藝術(shù)，必將遭到眾多藝術(shù)家和學(xué)者的批判與質(zhì)疑；然而正是通過這樣的審視，它才能成為最易于大眾接受的美學(xué)藝術(shù)形式，并最終在全球文化生活中生根發(fā)芽、蓬勃發(fā)展。
