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80年代以来,改革开放的国家既定方针的落实为中国传统水墨艺术的现代转化进程提供了较为自由的空间,而同时也激活了批评本体的归复和批评家独立人格的形成。两者以一致的步调在共同经历了’85美术运动的洗礼和90年代初商业浪潮的冲击之后,导致水墨艺术的发展在语言特征上由单一走向丰富,在价值取向上由禁锢走向开拓,而批评的主体意识亦由自发逐步走向自觉,批评的切入力量也由单体组成集团。关键例证即为不久前落下帷幕的《美术批评家93年度提名展·水墨部分》。
Since the 1980s, the implementation of the established guidelines of the state in the process of reform and opening up has provided a relatively free space for the modern transformation of traditional Chinese ink art, while at the same time, it has also activated the return of critical mass and the formation of independent personality of critics. After the common experience of both the baptism of the ’85 Art Movement and the impact of the commercial wave in the early 1990s, the development of ink art led to the development of ink art from single to rich in linguistic features and from imprisonment to development in value orientation The main body of criticism also gradually from spontaneous consciousness, the power of criticism into the monomer group formed by the group. The key example is the “Art Critics 93rd Annual Nominee Exhibition · Ink and Wash Painting Section”, which was not long concluded.