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在当今艺术界,水墨无疑是一个时髦的话题。各种水墨展览层出不穷,各种水墨热潮此起彼伏。然而,当我们对这一现象进行深入反思时,在这样一种“喧嚣”的繁荣背后,往往面临着水墨表现语言的泛滥与水墨价值评判标准缺失的困境。在我个人看来,针对当下的水墨生态,我们至少需要用两种眼光看待所谓的水墨:一种是作为文化传承的水墨;另一种则是作为媒介材质的水墨。前者,自有一套完整的笔墨程式语言与价值评判标准,而后者则往往可以将其放在当代艺术的语境中去考察。我认为,当下水墨界存在的最为严重的问题是,那些纯粹将水墨视为媒介材质的艺术创作,似乎非要勉强地与传统拉上关系,这一方面给水墨
In today’s art world, ink is undoubtedly a fashionable topic. A variety of ink exhibition after another, a variety of ink craze one after another. However, when we reflect on this phenomenon in-depth, behind such a “noisy” prosperity, we often face the proliferation of the language of expression of ink and ink and the missing value of the judging criteria. Personally, in my opinion, at least for the current ink-and-wash ecology, we need to look at the so-called ink and wash in at least two ways: one is ink as a cultural heritage; the other is ink as a medium. The former has its own complete set of written and spoken language and value judgments, while the latter tends to examine it in the context of contemporary art. In my opinion, the most serious problem that exists in the current ink industry is that those who purely regard ink painting as a media material seem to have to reluctantly pull their ties with the tradition. On the one hand,