漫画作为艺术的支点在哪里？幽默是漫画最基本的要素吗？漫画生来就被打上了“通俗艺术”的烙印吗？
和我们对于漫画的传统认识有所不同，许多国外漫画家深受当代艺术，特别是前卫艺术的影响，很多漫画难以用“幽默”来框定，似乎在“经典”的漫画涵义之外还另有更加广阔的自由空间。
    这里，我倾向于用“悖谬”这个词来解读漫画，幽默乃至讽刺在逻辑范畴上都应源于悖谬，或者说是它的子集，这样一来许多“另类”的漫画便有了理论诠释的可能，当然这只是我的个人想法，其可行性还有待批评家和广大受众的认可。
当然，给漫画“扩容”的另一个后果是造成了更大的模糊区间，诸如马格利特、德尔沃、基里科这样的现代艺术大师，他们的许多作品也会因其悖谬的特点被拉到漫画中来。
     所以，我想我们是不是可以有狭义的和广义的两种漫画概念，即本格的漫画和非本格的漫画，这样的话，漫画较易于在新的当代艺术背景下找到自己恰当的位置。
     在拓展漫画的艺术哲学内涵的过程中，我们不可避免地要遭遇到漫画二元性的尴尬，即其思想内涵常常与其表现形式间存在着脱节或难以兼容的问题。
     这也造成了受众对于漫画解读的误区，人们常常忽略了漫画首先作为画的基本艺术特质，而片面截取其观念部分加以评判和理解。这样一来，从作者到读者再到评论家，都在不自觉地把漫画异化成了游离于艺术大门之外的无主孤魂。
     我不知道直觉与理性合一的解读方式对于读者来说是否过于陌生和难以接受，但同样作为悖谬艺术的许多超现实主义作品却很少存在与观众的沟通问题，我们是否可以从中得到一些有益的启发呢？
     在当今西方艺术批评家那里，漫画被看作“第九艺术”，即把漫画升格为与整个绘画艺术平行的范畴。此论的高明之处在于，它以一种发展的眼光看待漫画，在传统界定之外为漫画找到了新的理论支点，整合了漫画二元性的优势而避免了使其患上“精神分裂症”。
     我认为，当代漫画艺术应该如同主流艺术一般被解构和重构，同时应当抱着一种开放的态度，在与其它艺术形式，诸如影像、纯绘画及多媒体艺术等的良性互动的基础上，探索出适合于自身发展的新的语式符号与艺术游戏规则。

Seeing Cartoons from a Different Aspect
Xia Dachuan
As a kind of art, where is the Fulcrum of cartoon? Is humor the basic factor of cartoon? Was cartoon born as "popular art"?

Many foreign cartoonists, who have different ideas from our traditional understandings of cartoon, are deeply influenced by contemporary art, especially the Avant-Garde Art. Many cartoons can not be easily definited as humor. It seems that beyond the meaning of “classic”, cartoon has a wider freedom space.

Here, I prefer to use “Absurdity” to interpret cartoon. Humor and ironically are drawn from “Absurdity” or its subset in the logic field. In this way, it is possible to give "alternative" cartoon a theoretical interpretation. Of course, this is only my personal opinion. Its feasibility remains to be recognized by critics and the general audiences.

Of course, to cartoon, "expansion" is another consequence of the greater cause of fuzzy space, such as Margareta, Delvaux, Chirico, the master of modern art, many of whose works are framed as cartoon because of the characteristics of “Absurdity”.

Therefore, I think whether we can use narrow and broad to definite cartoon or not, that is the figures and non-qualified cartoon. In this case, cartoon is easier to find its appropriate position in the new context of contemporary art.

In the process of expending the art philosophy contents of cartoon, we will inevitably have to face the embarrassment of he dual nature of cartoon, that is there is disconnect and compatibility problems between its ideological content and forms.

This caused the audience’s misunderstanding of cartoon. People often overlook the basic characteristics of cartoon, and evaluate and comment from one-sided concept. Consequently, from the authors to the readers and then to the commentators, are not consciously making cartoon alienation of arts which has become divorced from the door of art.

I don’t know whether the readers are not familiar with and difficult to accept the reading way of combination of intuition and reason or not. Otherwise, as a kind of “Absurdity” art, super-realistic works seldom face the problems of communicating with the audiences. Can we gain any useful inspiration from these examples?

Cartoon is considered as “the ninth art” in the eyes of western art critics nowadays. That is strengthening cartoon to the level of the concept of drawing art. The strong point of this theory is that it sees cartoon with a view of development; it finds a new theoretical fulcrum for cartoon in the area beyond traditional version; it integrates the advantages of dual nature of cartoon, and then avoids suffering from Schizophcenia..