Essay on New Wave Culture

Ink and wash is the spiritual home of Chinese people. For thousands of years, generations of Chinese have used ink and rice paper to express their joys and sorrows, and to express their sorrows and joys. However, critic Wang Duanting put forward a new concept of ink, he said: "traditional ink is difficult to enter the international academic field of vision because of its excessive ethnicity, Western color has gone through two evolutions of expression and minimalism and become more internationalized, ink art should also learn from the development of Western art, beyond the chiaroscuro, breaking through the limits to adapt to the development of contemporary art. " At the same time, the development of modern life since the 20th century has gradually deprived traditional Chinese ink art of the humanistic environment in which it lives. As an expression of the soul, the modernization of traditional ink art thus became an acute problem in China at the end of the 20th century. In a sense, the history of Chinese ink painting in the 20th century is a history of the modern transformation of traditional Chinese painting. Since Mr. Lin Fengmian, a new path of Chinese painting expression has been opened. Mr. Lin Fengmian explored the improvement of art from the West to China, and borrowed the expression of Western painting from the sincerity and emotion of human nature, and then added his own deep Chinese cultural connotation, and formed his own unique characteristics and give a strong artistic influence of the artistic style, Mr. Wu Guanzhong in the inheritance and development of Mr. Lin Fengmian, to form his own another art of ink painting world, and has an important impact on the contemporary Chinese painting world. Some artists such as Xu Beihong, Liu Haisu, Pan Tianshou, Fu Baoshi, Li Keran, Lin Fengmian and others' Chinese painting creations can actually be regarded as the exploration and practice of modern transformation of traditional ink painting.

Nowadays, contemporary artists seem to be more willing to treat ink painting as a language with contemporary cultural taste, and to think about the current social and cultural issues and human existence through the ink language, so as to obtain a conceptual pointing to the present. Artist Qiu Zhenzhong believes: "In today's era of conceptual art, artists need to rely on wisdom to create, art graphics should give people an inner shock, and critics need to have a new point of view, looking for never-before-explained content to give a new interpretation from the object to be interpreted." In the concern for real life, contemporary ink and wash also sweeps away the literati painting's feeble breath, the understanding and sensitivity to the current state of human existence in society, through the mutation of the shape, bold colors and wild strokes, resulting in a strong visual tension, further expanding the expressive power of the ink and wash language, and creating a real ink and wash expression belonging to this era. Because of this, many "experimental ink" painters do not only regard the ink medium as a matter of material and technology, but also regard ink as a local way of looking at the world with unique feeling and comprehension. Jin Weihong, a local contemporary ink painter from Nanjing, said, "The art of expressing the ethereal world with water and ink still represents the most authentic oriental meaning. However, the former carrier of the externalization of the mind, which was heavy and heavy, has become an empty shell today, and no longer attracts me for any reason. I still insist on creating ink painting in such a background, not only because the formal charm of ink art itself makes me unable to abandon it, but also because ink painting is also an important symbol of my self-identity, and I have a hard-to-let go of it".