“中国画水墨语言”是一个庞大的概念,面对中国绘画史上优秀的传统作品,我们或许还能谈论其绘画语言的独特的感染力,譬如米氏父子的“米点皴”,梁楷的泼墨法,它们既是显而易见的独特技法,又是那个时代的绘画语言。然而,纵观整个中国画的漫长历史,到今天已发展到了不仅仅去表现客观物象自然形态为最终目的,而是充分强调笔墨中的精神属性、强调笔墨的本体语言所具 “Chinese Painting Ink and Wash Language” is a huge concept. In the face of the excellent traditional works in the history of Chinese painting, we may also be able to talk about the unique appeal of the painting language. For example, the “rice dot” of his father and son, Act, they are both obvious and unique techniques, but also the language of that era painting. However, looking at the long history of the whole Chinese painting, to this day it has been developed that it not only ends up as the ultimate goal of expressing the natural forms of objective objects but rather of the spiritual attributes of the ink and the ink, emphasizing the ontology language