从《水月》和《雷和雨》的比较中可见出两岸艺术中新传统的当代呈现状况。新传统是指因参酌西方影响而创生从而与中国古代艺术传统有所不同的中国现代艺术传统。《水月》在现代舞框架中融合中国古典佛家、道家的理念，合力传达虚静、空灵、无为的景致。同样采取现代舞形式的《雷和雨》则相反，不是对中国古典传统价值理念加以传承和致以敬意，而是通过在血缘上相互交接的两个家庭人物间的剧烈的心理冲突，凸显传统与现代之间的难以化解的纠结。由此可见出两岸艺术交流中新的传统汇通：台湾艺术家力图在现代舞样式中彰显中国古代传统精神的正效应，大陆艺术家则突出中国古代传统精神的负效应；前者创造的新传统属于对古代传统的超时空的致敬仪式，后者则是对古代传统在现代时空中的分崩离析的控诉仪式；前者希望以现代舞样式激活中国古代传统元素，后者注重展现至今仍在生活中持续的古代传统与现代性的冲突，以便唤醒人们对古代传统的负效应的冷峻的理性反思。两者分别代表现代艺术中新传统的不同呈现形态，而非指两者之间存在简单的高与低、厚与薄等差异。%A comparison of Water Moon and Thunder and Rain can provide a glimpse into the current state of the new tradi-tion of cross-strait art, which refers to a modern Chinese art tradition that came into being under Western influence and de-parts from the ancient Chinese art tradition.Water Moon blends classical Chinese Buddhist and Taoist conceptions to convey quiescence, etherealness and obedience to nature.By contrast, though Thunder and Rain also adopts the form of a modern dance, it does not inherit and pay homage to the values and conceptions of the classical Chinese art tradition.Rather, it re-flects the intractable tension between tradition and modernity through a representation of the intense psychological conflicts between two family members.Herein lies a convergence of the cross-strait art traditions:the artists in Taiwan seek to show the positive effects of the ancient Chinese art tradition while those of the mainland seek to point out its negative effects .The new tradition created by the former is a homage paid to the ancient tradition across the centuries while the latter is a protest against the disintegration of this tradition in the modern times.The former seeks to reactivate the elements of the ancient Chi-nese tradition with a modern dance while the latter makes a point of displaying the on-going conflict between tradition and modernity in an attempt to provoke a rational reconsideration of the negative effects of the ancient tradition.They are both manifestations of the new tradition in modern art, with no implication that one is preferable to the other.
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