今天的中国书画理论,从艺术这个概念的诞生开始,慢慢滋长出了与古代截然不同的语言环境,一个逻辑相对完整的新的评价体系。正是由于这个体系西方血统的属性所决定,几乎所有的传统语汇,被直接或委婉地置换成全新的概念,于是评价中国传统书画的“艺术”性,成为评论者不能回避的事情。十年前吴冠中先生关于中国画“笔墨等于零”的论述可谓石破天惊,引来挞伐一片,也促成了一场关于中国画笔墨的讨论。吴先生的这个“等于零”的 Today’s theory of Chinese painting and calligraphy begins with the birth of the concept of art and slowly grows into a completely different linguistic environment from the ancient times. It is a relatively complete new evaluation system. It is precisely because of the nature of the system of Western descent that almost all of the traditional vocabulary has been directly or euphemistically replaced with entirely new concepts. Therefore, evaluating the “art” nature of traditional Chinese calligraphy and painting has become an unavoidable thing for critics. Ten years ago, Mr. Wu Guanzhong’s remark on Chinese painting “Equal to zero in ink and wash of ink” was astonishing and drew a piece of paper and contributed to a discussion on the brushwork of Chinese painting. Mr. Wu’s this “equal to zero ”