自20世纪80年代以来,由于西方现代艺术思潮的大规模涌入,传统水墨面临着与西方现代艺术对立的局面。随着中西艺术的不断吸收融合和对话,有关水墨的身份问题、本土性和国际化问题、水墨的边缘性和现代性问题等被先后提出。水墨艺术亦呈现出传统的、表现的、实验的等多元并存的状态,传统水墨自身面临着题材与语言从传统向当代转型的紧迫任务。但是,由于传统中国画具有上千年的文化积淀,绘画程式亦根深蒂固,加上创作思维的连续性以及艺术家原创意识的整体匮乏,所以尽管有个别先锋派艺术批评家和实验性水墨艺术家就传统水墨的当代转型进行过大声疾呼或身体力行地创作,但总体上并未撼动传统水墨的固有地位,绘画面貌和风格一直难有大的改变和突破,传统的笔墨意义与价值取向仍然左右着中国画的前进方向。因此,从本质上看,传统水墨在艺术语言上并未现代化,水墨自身同当代艺术及当代生活严重脱离。 Since the 1980s, due to the massive influx of western modern art, traditional Chinese ink and wash are confronted with Western modern art. With the continuous integration and dialogue of Chinese and Western art, questions such as the identity of ink painting, local issues and internationalization, the fringeness and modernity of ink painting, etc. have been put forward one after another. Ink art also shows the traditional, performance, experimental and diverse coexistence of the state, the traditional ink and wash itself is facing the theme and language from the traditional to the urgent task of transforming the contemporary. However, as traditional Chinese paintings have thousands of years of cultural heritage and deep-rooted programs of painting, coupled with the continuity of creative thinking and the overall lack of original artists’ consciousness, even though there are a few avant-garde art critics and experimental ink artists who talk about traditional ink painting However, there is no great change and breakthrough in painting appearance and style. The traditional meaning and value orientation of Chinese ink and brush still dominate the direction of Chinese painting. Therefore, in essence, the traditional ink and wash are not modernized in the art language, and the ink and wash itself is seriously separated from the contemporary art and contemporary life.