面对似乎不可逆转的国际化潮流,如何才能在国际化过程中掌握主动权是今日各国共同关注的问题。近代以来,中国和日本都属于主动向西方学习借鉴,在文化交流上“入超”的国家。两国存在的相同问题是推介本国艺术和审美价值标准的工作做得较少,以致具有传统民族特色的本土艺术被长期地局限于国内,不能真正走出国门为国际社会广泛接受。近几十年来人们日益明确地认识到艺术对于发展文化经济的巨大意义,并意识到文化交流的“入超”状态不利于本国艺术的发展以及文化经济意义上的“升值”,这种状态持续下去势必给本国文化和经济的发展都造成巨大的损失。本期刊发的日本艺术家、理论家深见东州的文章对这一问题做了较深入地研究和剖析,见解独到,值得读者格外关注。 In the face of the international trend that seems irreversible, how to grasp the initiative in the process of internationalization is a common concern of all countries today. In modern times, both China and Japan belonged to the countries that learned from the West actively and passed the cultural exchange. The same problems existing in the two countries make fewer efforts to promote their own art and aesthetic standards of value, so that local art with traditional national characteristics has long been confined to China and can not really go abroad for widespread acceptance by the international community. In recent decades, people have come to realize more and more clearly the great significance of art in developing a cultural economy and realized that the “super-entry” status of cultural exchanges is not conducive to the development of their own arts and the “appreciation” in the cultural and economic sense. This state of affairs continues Going is bound to cause tremendous damage to the development of our own culture and economy. This issue of Japanese artists and theorists who have seen Dongzhou articles deeply studied and analyzed this issue. The opinions are unique and deserve readers’ special attention.