WORLD ART 世 界 藝 術
APPROPRIATION
Appropriation in art and art history refers to the practice of artists using pre-existing objects or images in their art with little transformation of the original.
藝術挪用
艺术和艺术史上的挪用指的是：艺术家在艺术創作時，對本體中的視覺單位等元素在稍加改動的基礎上的創作行為。
主题信息在最下方
See at the bottom
世界中國學研究會
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After 18 months of careful conservation and analysis, Gilbert Stuart’s “Lansdowne” portrait of George Washington is back on view in the newly refurbished “America’s Presidents” gallery. Learn more about the "America's Presidents" exhibition at: http://npg.si.edu/exhibition/americas...And for an in-depth look at the conservation of the Lansdowne portrait see the Portrait Gallery's blog at: http://npg.si.edu/blog/conserving-lan...
點擊觀看click to watch
Published on Dec 14, 2017
You’ve heard of Jackson Pollock and know of his infamous “drip paintings,” but what is it that you’re supposed to do when you look at his work today? Why did it cause shockwaves in 1947, and what does it mean now? We explore the life, evolution, and legacy of Jackson Pollock.
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规则与情感~艺术作品分析的中西比较与考量
- 由叶永青“抄袭”案所想到的
Tools, and Humanities
~Comparison and Quantitativeness of Chinese and Western Visual Analysis
- From Ye’s “plagiarism” case.
By John Morgan (Weihong Yan)
March 5th, 2019, Beijing.
语言：中英双语
Language: Bilingual.
The Case for Jackson Pollock | The Art Assignment | PBS Digital Studios
Belgian Artist Mulling Lawsuit Against Alleged Chinese
比利时艺术家正在考虑针对涉嫌中国人的诉讼（来源：Six Tone）
北京从事知识产权Zhongwen律师事务所的律师赵虎（译音）告诉Sixth Tone，如果希尔文（Silvain）打算向叶永青提起诉讼，法律可能会支持希尔文。赵说，除非你证明他自己的风格一直被使用，否则可能会被判侵犯版权罪。 “但即使他能证明这一点，仍然有趣的是，绘画内容和风格几乎与希尔文的相同。”
随着时间在中国引起越来越多的关注，许多网民都在怀疑这位比利时艺术家的指控是否仅仅是一种宣传噱头 - 但希尔文认为这是“愚蠢的”。“我的作品出现在全球约70家博物馆中，”他告诉Sixth Tone。 “所以我真的不需要这种“宣传”。”
希尔文 (Silvain)声称叶永青的艺术使用的是与他自己的作品相同的风格和符号，可以追溯到20世纪80年代。 1996年叶的作品之一 - “冬天的九只鸟笼” - 于2015年在北京的苏富比拍卖，售价为114.6万元人民币（当时为184,000美元）。
Zhao Hu, a lawyer specializing in intellectual property rights at Beijing Zhongwen Law Firm, told Sixth Tone that the law could favor Silvain if he plans to file a case against Ye. Unless Ye proves that his own style has been used throughout time, Zhao said, he is likely to be convicted of copyright infringement. “But even if he could prove that, it’s still interesting that the content of the paintings [in question] is laid out almost identically to Silvain’s.”
As the case draws more attention in China, many netizens are wondering whether the Belgian artist’s accusations are merely a publicity stunt — but Silvain dismissed these suggestions as “idiotic.”
“My work is present in some 70 museums around the world,” he told Sixth Tone. “So I do not really need this [publicity].”
Silvain claims that Ye’s art uses the same style and symbols from some of his own works dating back to the 1980s. One of Ye’s artworks from 1996 — “Nine Birdcages in the Winter” — was auctioned in 2015 at Sotheby’s in Beijing for 1,146,000 yuan (then $184,000).
*** (以上信息来自six stone网站)
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这些天来，我在网络里读到了很多大陆专家热议对此事的观点，确为百家争鸣，观点角度各异。众多的批评还处于无序的非学术性批评风格，对叶永青玉希尔文作品的比较远离了视觉艺术批评原本学术基础常识和理论；更多的是作者自己的情感释放，如诗人般的浪漫情怀的抒发，并不具有学术的实用性（Pragmatic）。误导学术，和在读的学生们。
叶永青是否被认定是抄袭与否，不是我今天要探讨的中心，正如北京从事知识产权律师事务所的律师赵虎（译音）所言，除非希尔文（Silvain）有足够证据证明叶永青一直使用了其艺术风格，否则希可能会被判侵犯版权罪。
今天， 我以“规则与情感-艺术作品分析的中西比较与考量 - 由叶永青“抄袭”希尔文案所想到的“ 为题，从我个人在美国教学多年所知的相关学术领域的信息，与大家分享美国对艺术批评的一些教育理念或称之为学术规则，这些规则的学习是美国大学人文学院的必修课之一。
常识教育是通才教育的基础......
-----------------------------------
概要（Overview）：
美国学界对艺术批评的规则：
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Visual Analysis (视觉分析学)；
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Visual Rhetoric (视觉修辞学)；
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符号学 (Semiotics) ;
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ADU/A: Visual Display Unit/Art recognition system(计算机视觉演示评估与识别系统)
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Visual Unit studies（视觉单位研究，这是我个人的研究范围，美国学界在该领域的研究甚少)；
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Stereotype Threat (成见威胁)。
中国对艺术批评的潜规则：
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关系与人情 (Guanxi and social relations)；
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社会阶层与政治 (Social Class and Political)；“我爸是李刚......“
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金钱 (Money);
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修辞与口号（Rhetoric 修辞，但非视觉修辞学）；
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道家玄理（Mysticism）。
～中国著名批评家朱其文章赏析，其风格基本涵盖了大陆潜规则中五项中的第1项和第4项（文章在最下方）。
“识图教育”对艺术批评的意义-人类教育的未来：（识字，识图和识技是人类教育三个核心阶段）
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识字教育 (Literacy)；
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识图教育 (Visual Literacy)；
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识技术教育 (Technology Literacy)。
结论：
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几十年来， 我牢记Susan Sontag的一句名言：“对艺术的诠释，乃知识分子对其的报复。 “Interpretation is the revenge of the intellectual upon art. ”
艺术评论者，也即译者（interpreter），作为一个译者，除了阅历和知识高低外，更重要的是道德与法则。据我所知，大陆很多艺术院校还未设立“视觉艺术分析”课程，希望此文对那些从事艺术批评者有所帮助，这是一把开启视觉艺术批评规范性的万用钥匙......
美国学界规则 I
Visual Analysis (视觉分析学)：
视觉分析学法则覆盖多个艺术领域。例如：
绘画 （Paitings）
雕塑（Sculpture）
建筑（Architecture）
在美国诸多的名校中，我选择了来自杜克大学学界对视觉分析（Visual analysis）的定义：(杜克大学距离我住地仅2小时路程)
视觉分析是艺术史写作的基本要求。诸如艺术杂志，学术书籍和学术研究论文都依赖于简洁而详细的视觉分析文章，是美国大学通才教育必备的一部分。
视觉分析的目的是识别和理解艺术家在创作作品时所做的视觉选择。通过观察和书写艺术品的不同部分，您将更好地理解整个艺术作品。
视觉分析解决了艺术作品的形式元素 - 视觉属性，如颜色，线条，纹理和大小。视觉分析还可以包括历史背景或意义的诠释。
Visual analysis is the basic unit of art historical writing. Sources as varied as art magazines, scholarly books, and undergraduate research papers rely on concise and detailed visual analyses. You may encounter a visual analysis as an assignment itself; or you may write one as part of a longer research paper.
The purpose of a visual analysis is to recognize and understand the visual choices the artist made in creating the artwork. By observing and writing about separate parts of the art object, you will come to a better understanding of the art object as a whole.
A visual analysis addresses an artwork’s formal elements—visual attributes such as color, line, texture, and size. A visual analysis may also include historical context or interpretations of meaning.
点击这里获得视觉分析基本框架明细指南（英文版本）
Medium, techniques, size/dimensions.
介质、技术、规模/尺寸重要性
介质、技术、规模/尺寸这些元素变化是对主体的总的数字比例的分析的测定，此乃与本体相联系的关键数据元素。
Scale of figures relative to the total object. Does this suggest something about the relative importance of figures？
人体或动物，或自然；图式化或抽象化，理想化；注意比例，肖像；对人/动物的人士如何的考量。
Treatment of the human body (or animal body; or drapery; etc.). Naturalistic? Schematized or abstracted? Idealized? Note proportions. Is it a portrait? What is the attitude towards the person/animal?
构图：它是如何组织的？有焦点吗？构图是否统一；支离破碎；颜色会影响其他元素成分吗；层次，对称；包括很多或几个表格？几何上有序或自由而且看似偶然；拥挤或宽敞；种类的重复；构图是否有助于观众的注意力；以什么形式或如何构图等考量。
Composition. How is it organized? Is there a focal point? Is the composition unified? Fragmented? Does color affect the composition? Hierarchy? Symmetry? Many or few forms included? Geometrically ordered or free and seemingly accidental? Crowdedness or spaciousness? Variety or repetition? Does the composition help to direct viewers’ attention: in what way and how?
空间：如何处理 - 是二维或三维；浅或深；打开还是屏蔽；使用什么样的理念；大气; 点; 蠕虫的眼睛，鸟的眼睛；飞机在深度或经济衰退中建议空间吗；空间“形状”与图像平面的关系是什么；空间处理如何影响图像与观众的关系等考量。
Space. How is it handled—essentially two-dimensionally or three-dimensionally? Shallow or deep? Open or screened off? What kind of perspective used? Atmospheric; one-point; worm’s eye, bird’s eye? Is space suggested by planes in depth or by recession? What is relation of “shape” of space to picture plane? How does the handling of space affect the relationship of the image to viewers?
用笔：绘画的笔锋、笔触、色彩的用笔，线性？是实是虚，是紧是松；强调主体的边界（边缘）；或者它们似乎与相邻表格/构图合并；是否使用线；对作品有什么影响等相关元素的考量。
Brushstroke. Painterly or linear? Tight or free? Emphasis on the boundaries (edges) of objects? Or do they appear to merge with adjacent forms? Are lines used at all? What effect does this have on the image?
颜色：明亮还是柔和，多或少，优势之比例，暖冷；色彩距离感/后或前；互补色并列，何种效果等考量。
Color. Bright or subdued? Many or few? Any one(s) dominant? Warm or cool? Recede or push forward? Complementary colors juxtaposed? To what effect?
光：光源方向，图的内外，强弱对比（“点光照明”）；阴影的运用；其功能（例如，澄清形式或空间，或强调情绪）等考量。
Light. Is there a consistent source? Inside or outside the picture? Strong or muted contrasts (“spot-light-lighting”)? Shadows used? What is the function of shadow (e.g., to clarify form or space, or to emphasize a mood)?
功能：考虑它的目的和外观之间的关系。图像的风格和主题是如何被其原始功能塑造或影响等考量。
Function. If you know the work’s function you can consider the relationship between its purpose and appearance. How have the style and subject of the image been shaped or influenced by its original function?
影响：（略）
Impact:
美国学界规则 II
视觉修辞学（Visual Rhetoric/VR）
在了解视觉修辞学之前，先了解一下修辞。
修辞（Rhetoric）起源于古希腊修辞学，已经被广泛应用和讨论了数千年。 Sophists [1]首先将这个想法创造为一个抽象术语来帮助标记的概念中，而亚里士多德则更加狭隘地将修辞定义为一种影响读者的语言信息的传递。[6]语言学家和其他研究人员经常通过众所周知的五种修辞来定义修辞。随着时间的推移，随着新的数字通信媒介的发展，这一定义已经发展，扩展并引发了严峻的争论。
Rhetoric ～ Originating in Ancient Greece, rhetoric has been widely discussed for thousands of years. Sophists first coined the idea as an abstract term to help label the concept while Aristotle more narrowly defined rhetoric as a message's potential to influence audiences.[6] Linguists and other researchers often define rhetoric through the well-known five cannons of rhetoric. Over time, this definition has evolved, expanded, and raised serious debate as new digital mediums of communicating have developed.
* 以上论段出自：
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A sophist (Greek: σοφιστής, sophistes) was a specific kind of teacher in ancient Greece,
Roland Barthes
法国图书馆学家、哲学家、批评家和符号学家
Marcel Danesi (born 1946) is a current Professor of Semiotics and Linguistic Anthropology at the University of Toronto.
什么是视觉修辞呢？
视觉修辞（VR）探究领域，旨在基于分析各种视觉图像作为修辞结构。 VR是视觉符号学（Semiotic）的一个分支，或者是对文化语境下视觉符号（Visual Signs）含义的研究; 以及对视觉思维的心理学，而不是语言/口述（verbal thinking）思维 - 视觉修辞定义为从视觉图像中提取所存有的含义行为和能力。 视觉修辞（VR）的基本方法可以追溯到罗兰巴特（Roland Barthes）1964年的一片关键性文章“图像的修辞”（The Rhetoric of the Image），即揭开视觉图像的内涵意义。例如，狮子的图片可以在两个层面上阅读。表面上（或字面上）它被解释为“非洲的一种大型肉食性猫科哺乳动物。”该层次给观者传达了信息或参考的意义。但是，狮子在广告或音乐视频中的形象总会引发一种内在的感知- 即“凶猛、勇敢、睿智等。”VR的关键独到分析和见解是固定在内涵的修辞结构中魅力，即，在隐喻和典故等认知联想的过程中，不仅在言语表达中，而且在视觉图像中都有印记。因此，狮子的形象，例如，男士服装的标志设计，将具有修辞的意义，并影响服装品牌的感知方式。这种相同的基本方法适用于所有视觉表现的本体（主体），从传统的视觉艺术作品到网页和漫画书籍的设计。虚拟现实表明视觉对象是修辞对象，因此，它们可以用来影响和说服人们像修辞演说一样有效的功能。鉴于其简单而有效的分析方法，作为一种技术，VR正在向各种学科传播，包括心理学、人类学、市场营销和平面设计等，视觉图像的利用与其观者相互联系形成了象征主义体系。
(来源：Oxford Research Encyclopedias/牛津研究百科全书，作者：Marcel Danesi)
Visual Rhetoric (VR) is a field of inquiry aiming to analyze all kinds of visual images and texts as rhetorical structures. VR is an offshoot of both visual semiotics, or the study of the meanings of visual signs in cultural contexts; and of the psychology of visual thinking, as opposed to verbal thinking—defined as the capacity to extract meaning from visual images. The basic method of VR, which can be traced back to Roland Barthes’s pivotal 1964 article “The Rhetoric of the Image,” is to unravel to connotative meanings of visual images. The picture of a lion, for instance, can be read at two levels. Denotatively (or literally) it is interpreted as “a large, carnivorous, feline mammal of Africa.” This level conveys informational or referential meaning. But the image of lion in, say, an advertisement or music video invariably triggers a connotative sense—namely, “fierceness, ferociousness, bravery, courage, virility.” The key insight of VR is that connotation is anchored in rhetorical structure, that is, in cognitive-associative processes such as metaphor and allusion, which are imprinted not only in verbal expressions, but also in visual images. So, the image of a lion in, say, a logo design for men’s clothing would bear rhetorical-connotative meaning and affect the way in which the clothing brand is perceived. This same basic approach is applied to all visual expressive artifacts, from traditional visual art works to the design of web pages and comic books. VR is showing that visual objects are rhetorical objects and that, therefore, they can be used to influence and persuade people as effectively as rhetorical oratory, if not more so. Given its simple, yet effective method of analysis, VR is spreading to various disciplines as a technique, including psychology, anthropology, marketing, and graphic design, among many others, affirming how visual images tap into a system of symbolism that is interconnected with other forms of symbolism and representation.
视视觉修辞（VR）与符号学（Semiotics）研究紧密联系，人们在使用VR分析作品时，符号学理论的使用必不可少，两个学科的理论结合对作品进行彻底的视觉修辞分析，一种科学的批评态度。就此理论，将在续集2中详细探讨。
多伦多大学人类学家、语言学家、符号学家Marcel Danesi教授曾写道：视觉修辞（VR）是利用符号学和修辞分析技术对视觉文本（绘画，电影，广告，海报等）的批判性分析。前者是研究符号的学科（任何具有意义的形式），修辞学是检查比喻性语言（隐喻，转喻，catachresis，反讽等）的结构和用途的学科。此外，它还将传统的修辞观扩展到包括图像的影响力或说服力，而不仅仅是对其结构的研究。虚拟现实学者可以分析图像的结构（在语言或视觉上的内容），但这样做的目的是着眼于修辞后果 - 谁被说服以及如何结束。
Visual rhetoric (VR) is the critical analysis of visual texts (paintings, movies, ads, posters, and so on) with the techniques of both semiotics and rhetorical analysis. The former is the discipline that studies signs (any form that has meaning), and rhetoric is the discipline that examines the structure and uses of figurative language (metaphor, metonymy, catachresis, irony, and so on). In addition, it has extended the traditional view of rhetoric to include the influence or persuasive force of images rather than with their structure. VR scholars may analyze the structure of an image (in the content of language or visually), but do so with an eye toward rhetorical consequence—who is persuaded and how and to what ends.
视觉修辞上世纪70年代的提出，令人鼓舞，其评估的法则为其他传播手段构建了新的理论体系和方法，显示了传统修辞理论与静止摄影媒介（still photographic medium）的相关性[2]。
Visual rhetoric's first mentioning (1977) brought to light a new way to evaluate other communication means, showing the relevance of traditional rhetorical theories to the still photographic medium.
2. Roland., Barthes, (1977). Image, music, text. Heath, Stephen. New York: Hill and Wang. ISBN 978-0374521363. OCLC 3414738
视觉修辞尽管不能完全从技术上对作品进行数据式分析，但是其分析方法论对作品起着重要的和关键学术体系的构建，是作品评估中不可缺少的程序和环节。
（待续）
JOHN MORGAN (Weihong Yan)
约翰 · 摩根简历 BIO OF JOHN MORGAN (Weihong Yan)
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艺术评论人、策展人、美中教育、中国文化海外本土化及高级商业咨询顾问。
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现任美国世界中国学研究学会首席执行官；休 • 麦考（银行家，美国银行行长）当代艺术中心国际委员会主席，美国高等教育禅学会会员和北京外国语大学中国文化研究院研究员。
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2006～2017年，美国北卡州费佛尔大学文学院教授、中国学研究中心主任、第46所（现112所）孔子学院美方院长。
研究方向：
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中国文化国际传播学、中西美学与跨文化比较研究与推广。
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汉字书法文化与美国STEM/STEAM教育研究。(Science科学、Technology技术、Engineering工程、Art艺术和Mathematic数学)
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汉字书法文化与脑可塑性研究。
John Morgan (Weihong Yan), American curator, author, US-China education, culture and Business Senior Consultant and strategic specialist and research professor of Chinese studies in Beijing Foreign Studies University, China. He is also the CEO of the World Association Chinese Studies.
Academic:
1. International relations focus on Chinese studies.
2. Chinese and Western aesthetics and cross-cultural research.
3. Interdisciplinary studies of Chinese calligraphy and neuroplasticity.
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Contact Info:
Weihong Yan
86-13903511910 (China)
001-704-164-1616 (USA)
Add: 4736 Hedgemore Dr. Unit P, Charlotte, NC 28209, USA.
以下学术讲座很实用，在此，我推荐给大家。
點擊觀看click to watch
讲座1: 对西方艺术批评的理解《识图教育的意义》
参考：What Is The Treachery of Images? （汉字研究史料）
點擊觀看click to watch
讲座2: 视觉修饰学/如何对艺术作品实施分析/Visual Rhetoric: How To Analyze Images
朱其
中国著名艺批评家朱其艺术批评作品赏析
朱其，男，1966年生于上海，博士、艺术批评家、独立策展人。国家画院理论部研究员、世界和谐科学院（美国）研究生院荣誉教授、世界文艺复兴协会学术委员会副主任、中华文化复兴基金委员会理事；首届世界和谐奖、世界文艺复兴奖评委会评委。（来自百度百科）
以下文章来自网络：
朱其: 这次关于叶的抄袭事情，铺天盖地的说法，真正让我体会什么叫文革和民粹主义。很多对一个行业不满多年的人，依据一二个简单的道德规则，不顾自己其实也没完全做到，劈头盖脸登上道德高点指责别人，甚至发泄到不顾起码的情理和具体的复杂性，把一切说得一无是处，这多少接近一些“语言暴力”，尽管叶抄袭是不对的，但任何一种成熟的公共言论，不仅是要符合正义性和伦理原则，也要符合情理，这样的行业才是有希望的，而不是一味像小孩子一样发泄不满。
1、中国艺术界，人人都有模仿西方艺术的成分、无非是你模仿了40%，叶永青模仿了85%，模仿达到大比例就是抄袭，抄袭是可耻的，但你模仿40%或50%，五十步笑百步也没有什么气壮的，弄得你从小到大都是原创似的；
2、仅凭不知道一个不知名的外国画家、就指责批评家水平不行，当时你不是也不知道么？就算你现在事后诸葛亮知道了，我可以保证，如果我说出一堆西方西方先锋艺术、文学、电影、音乐的一流大师名字，你还是不知道，不信你敢跟我当场知识竞赛吗？所以，不要仅凭别人一点失误，就情绪化的发泄，否定别人整个水平。你即使今天，不要说西方二流艺术家不知道，我就是报出一些一流大师的名字，你今天还是不知道，所以就不要没有自知之明否定别人的水平；
3、说批评家不知道外国二流画家可以原谅，但看出叶是二流作品还写文章，就是违背批评家精神。批评家也是人，人在江湖中生存发展，总要出于江湖情谊为人美言几句，世界上哪个艺术批评家没有美言过几句的，你倒是找一个出来，像格林伯格还写过不少美言文章，但这丝毫不减他的历史风采。优秀的批评家自有美言的分寸，比如这个艺术家语言不行，就多说他主题不错，但绝不至于把他说成一流大师。这是批评允许的情理，批评的关键是不要说违背底线和原则的话，但出于社会情谊有所美言，这是艺术史上正常的事情。难道你在生活中从来没有因为情谊为人美言几句？你艺术家就从来没有与水平差一点的朋友做过联展？你艺术家为了生存早年就没有与差的画廊和展览合作过？你艺术家出名后就没有为了多卖画而随便画过一批应付？我希望你能做到我错了，但我相信大部分在叶事件后大放厥词秀高尚的人，自己也做不到；
登上道德制高点，以完美要求和指责别人是容易的，把整个行业说成是贼窝也是很爽的。但你们是搞艺术的，可能忘了在慷慨陈词时，自己也只是五十步笑百步。不要自己的不成功归咎于时代的堕落和利益集团，尤其是艺术，艺术是可以超越时代，历史上许多伟大的艺术家都是在堕落的时代完成创造的。千万不要今天抨击人家模仿85%的抄袭作品，明天自己又把模仿度45%或55%作品拿出来展览了。
Zhu Qi: This plagiarism about Ye, the overwhelming argument, really made me realize what the Cultural Revolution and populism. Many people who have been dissatisfied with an industry for many years, according to one or two simple moral rules, regardless of their own in fact, did not completely do it, swearing on the face of moral high points to blame others, and even venting to the minimum rationality and specific complexity, Everything is nothing, it is somewhat close to some "language violence". Although leaf plagiarism is not right, any mature public speech is not only in conformity with the principles of justice and ethics, but also in the sense that such an industry is Hopefully, not just venting dissatisfaction like a child.
1. In the Chinese art world, everyone has the imitation of Western art. It is nothing more than 40% of you imitating, Ye Yongqing imitates 85%, imitating a large proportion is plagiarism, plagiarism is shameful, but you imitate 40% or 50% There are no strong things in the 50 steps, and you are so original from small to large;
2. If you don't know an unknown foreign painter, you can't blame the critics. You didn't know it at the time? Even if you know now, Zhuge Liang knows, I can guarantee that if I say a bunch of first-class master names of Western Western avant-garde art, literature, film, music, you still don't know, don't you believe that you dare to compete with me on the spot? Therefore, don't just rely on others' mistakes, let them vent their emotions and deny the whole level of others. Even today, don't say that Western second-rate artists don't know, I just quote some first-class masters. You still don't know today, so don't let yourself know the level of others without knowing it;
3. The critics do not know that foreign second-rate painters can forgive, but it is a violation of the spirit of critics to see that Ye is a second-rate work and writes an article. Critics are also people. People live and develop in the rivers and lakes. They must always say a few words from the friendship of the rivers and lakes. Which art critics in the world have not said a few words, you are looking for one, like Greenberg. A lot of beautiful words, but this does not detract from his historical style. A good critics have their own good words. If the artist's language is not good, he will say that his theme is good, but he will never be described as a first-class master. This is the reason for criticism. The key to criticism is not to say that it violates the bottom line and the principle, but it is a normal thing in the history of art because of the social friendship. Have you never said a few words in your life because of friendship? Has your artist ever had a joint exhibition with friends who are a little bit different? Have your artists worked with poor galleries and exhibitions in order to survive? After your artist became famous, he did not have to paint a batch to deal with more paintings. I hope that you can do what I am wrong, but I believe that most of the people who have shown great enthusiasm after the Ye incident can not do it themselves;
It is easy to be on the moral high ground, to perfect the requirements and to blame others, and to say that the whole industry is a thief is also very cool. But you are engaged in art, and you may have forgotten that when you are generous, you are only fifty steps. Don't blame your own unsuccessful blame on the degeneration and interest groups of the times, especially art. Art can transcend the times. Many great artists in history have been created in the era of corruption. Don't slam people's homes to imitate 85% of plagiarism works today, and tomorrow they will showcase 45% or 55% of the works of imitation.