{"id":165,"date":"2014-04-26T22:08:18","date_gmt":"2014-04-26T14:08:18","guid":{"rendered":"http:\/\/www.meishuwenxian.com\/?p=165"},"modified":"2015-11-23T12:39:12","modified_gmt":"2015-11-23T04:39:12","slug":"%e7%ac%ac69%e6%9c%9f-%e6%b0%b4%e5%a2%a8%e4%b9%8b%e7%9c%bc%ef%bc%9a%e9%94%99%e7%bd%ae%e7%9a%84%e7%a9%ba%e5%b1%b1%ef%bc%882011%ef%bc%89-2","status":"publish","type":"post","link":"https:\/\/www.meishuwenxian.com\/en\/%e7%ac%ac69%e6%9c%9f-%e6%b0%b4%e5%a2%a8%e4%b9%8b%e7%9c%bc%ef%bc%9a%e9%94%99%e7%bd%ae%e7%9a%84%e7%a9%ba%e5%b1%b1%ef%bc%882011%ef%bc%89-2\/","title":{"rendered":"\u7b2c69\u671f \u6c34\u58a8\u4e4b\u773c\uff1a\u9519\u7f6e\u7684\u7a7a\u5c71\uff082011\uff09"},"content":{"rendered":"

\u7b2c69\u671f \u6c34\u58a8\u4e4b\u773c\uff1a\u9519\u7f6e\u7684\u7a7a\u5c71\uff082011\u5e74\uff09<\/strong><\/p>\n

\u5b66\u672f\u4e3b\u6301\uff1a\u5d14\u707f\u707f<\/p>\n

\u4e3b\u9898\uff1a\u6b66\u827a \u5f90\u7d2f \u90b1\u5fd7\u6770 \u8521\u5e7f\u658c \u5b59\u900a \u5f20\u6b63\u6c11 \u9648\u5f67\u51e1 \u5f20\u8be0 \u5b63\u4e91\u98de<\/p>\n

\u65b0\u4f5c\uff1a\u5510\u627f\u534e \u83ab\u96c4 \u5218\u6d01 \u754c\u5c71\u96ea \u674e\u4f73\u00a0 \u4ef5\u6770<\/p>\n

Issue No. 69(2011)<\/span><\/p>\n

Theme: The Eye of the Ink Paintiing: The Misplaced Hollow Mountain<\/span><\/p>\n

Academic Host: Cui Cancan<\/span><\/p>\n

A.T: Wu Yi, Xu Lei, Qiu Zhijie, Cai Guangbin, Sun Xun, Zhang Zhengmin, Chen Yufan, Zhang Quan, Ji Yunfei<\/span><\/p>\n

A.N: Tang Chenghua, Mo Xiong, Liu Jie, Jie Shan Xue, Li Jia, Wu Jie<\/span><\/p>\n

\"69\"<\/a><\/p>\n

 <\/p>\n

\u6c34\u58a8\u4e4b\u773c\uff1a\u9519\u7f6e\u7684\u7a7a\u5c71<\/strong><\/p>\n

\u5b66\u672f\u4e3b\u6301\uff1a\u5d14\u707f\u707f<\/p>\n

 <\/p>\n

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\u4ece\u201c\u73b0\u4ee3\u4e4b\u773c\u201d\u5f00\u59cb\uff0c\u201c\u6c34\u58a8\u827a\u672f\u201d\u6210\u4e3a\u5bc4\u4e8e\u201c\u73b0\u4ee3\u6027\u201d\u7406\u8bba\u4e4b\u4e0b\u7684\u53ef\u9020\u4e4b\u7269\uff0c\u6210\u4e3a\u4e8c\u5143\u5bf9\u7acb\u5f0f\u7d27\u5f20\u6027\u7ed3\u6784\u5173\u7cfb\u4e2d\u7684\u4e00\u5143\u3002\u201c\u540e\u73b0\u4ee3\u4e4b\u773c\u201d\u7684\u51fa\u73b0\u7ed9\u201c\u6c34\u58a8\u827a\u672f\u201d\u5e26\u6765\u4e86\u7a7a\u524d\u7684\u8eab\u4efd\u89e3\u653e\uff0c\u540c\u65f6\u4e5f\u4f7f\u5f97\u201c\u6c34\u58a8\u827a\u672f\u201d\u83b7\u5f97\u8d85\u8d8a\u56fa\u6709\u672c\u8d28\u548c\u7ed8\u753b\u5a92\u4ecb\u8bba\u7684\u9677\u9631\u3002\u8fd9\u4e2a\u65f6\u5019\uff0c\u66f4\u4e3a\u5e7f\u9614\uff0c\u751a\u81f3\u6f2b\u65e0\u8fb9\u9645\u7684\u5386\u53f2\u89c6\u91ce\u5982\u4f55\u5728\u6a2a\u5411\u7684\u201c\u6c11\u65cf\u201d\u201c\u8fb9\u7f18\u201d\u7b49\u8eab\u4efd\u95ee\u9898\u53ca\u7eb5\u5411\u7684\u201c\u4f20\u7edf\u201d\u201c\u672c\u8d28\u201d\u7b49\u827a\u672f\u95ee\u9898\u4e0a\u5c55\u5f00\u201c\u5b9e\u9a8c\u201d\u5219\u662f\u6446\u5728\u7406\u8bba\u53ca\u5b9e\u8df5\u9762\u524d\u7684\u6838\u5fc3\u3002\u6b63\u662f\u57fa\u4e8e\u201c\u5b9e\u9a8c\u201d\u7684\u53ef\u80fd\u6027\uff0c\u6211\u4eec\u4e0d\u4ec5\u8981\u5728\u73b0\u6709\u7684\u4f53\u7cfb\u4e4b\u4e2d\u5c55\u5f00\u5de5\u4f5c\uff0c\u540c\u6837\uff0c\u7406\u8bba\u7684\u81ea\u89c9\u610f\u8bc6\u4e5f\u9700\u8981\u6211\u4eec\u4ece\u7406\u8bba\u7684\u5efa\u6784\u548c\u8ffd\u95ee\u505a\u8d77\u3002\u7b14\u8005\u63d0\u51fa\u4e00\u79cd\u89c2\u770b\u65b9\u6cd5\u7684\u5047\u60f3\uff0c\u5373\u201c\u6c34\u58a8\u4e4b\u773c\u201d\u3002\u5b83\u7684\u63d0\u51fa\uff0c\u5e76\u975e\u662f\u5c06\u201c\u6c34\u58a8\u201d\u653e\u7f6e\u4e8e\u540c\u201c\u73b0\u4ee3\u201d\u3001\u201c\u540e\u73b0\u4ee3\u201d\u76f8\u540c\u7684\u7406\u8bba\u5883\u9047\u548c\u65b9\u6cd5\u7cfb\u7edf\u4e4b\u4e2d\u3002\u201c\u6c34\u58a8\u201d\u4f5c\u4e3a\u88ab\u540e\u4e24\u79cd\u7406\u8bba\u60ac\u7f6e\u6216\u7ed1\u67b6\u7684\u201c\u4e3b\u4f53\u201d\uff0c\u9700\u8981\u83b7\u5f97\u4e00\u79cd\u201c\u4e3b\u4f53\u7684\u89e3\u653e\u201d\uff0c\u5373\uff1a\u5728\u4e00\u5b9a\u7a0b\u5ea6\u4e0a\u201c\u53bb\u73b0\u4ee3\u201d\u3001\u201c\u53bb\u540e\u73b0\u4ee3\u201d\uff0c\u9003\u8131\u201c\u518d\u73b0\u8bba\u201d\u3001\u201c\u4e8c\u5143\u8bba\u201d\u7684\u9634\u5f71\uff0c\u83b7\u5f97\u201c\u4e3b\u4f53\u201d\u7684\u81ea\u5728\u3002\u6216\u8005\u8bf4\uff0c\u201c\u6c34\u58a8\u4e4b\u773c\u201d\u662f\u5728\u9762\u5bf9\u540c\u4e00\u7269\u7684\u65f6\u5019\u533a\u522b\u4e8e\u201c\u73b0\u4ee3\u4e4b\u773c\u201d\u3001\u201c\u540e\u73b0\u4ee3\u4e4b\u773c\u201d\u7684\u53e6\u7c7b\u89c2\u770b\u3002\u8fd9\u79cd\u89c2\u770b\u7684\u6807\u51c6\u4e0d\u518d\u5efa\u7acb\u4e8e\u201c\u65b0\u4e0e\u65e7\u201d\u3001\u201c\u8fdb\u6b65\u4e0e\u843d\u540e\u201d\u3001\u201c\u79d1\u5b66\u4e0e\u4eba\u6587\u201d\u3001\u201c\u6fc0\u8fdb\u4e0e\u4fdd\u5b88\u201d\u3001\u201c\u56fd\u9645\u4e0e\u6c11\u65cf\u201d\u7b49\u73b0\u4ee3\u53ca\u540e\u73b0\u4ee3\u6240\u89e3\u51b3\u7684\u95ee\u9898\u4e4b\u4e0a\u3002\u5b83\u662f\u4e00\u79cd\u89c2\u5bdf\u3001\u8ba4\u8bc6\u4e16\u754c\u7684\u72ec\u7279\u65b9\u5f0f\u3002<\/p>\n

\u201c\u5b9e\u9a8c\u201d\u4ecd\u7136\u4f5c\u4e3a\u8fd9\u4e00\u89c2\u770b\u7684\u91cd\u8981\u5b9e\u8df5\uff0c\u5b83\u4e0d\u4ec5\u662f\u7406\u8bba\u7684\u81ea\u89c9\u5b9e\u9a8c\uff0c\u4e5f\u662f\u5b9e\u8df5\u7684\u81ea\u89c9\u5b9e\u9a8c\u3002\u5b83\u5f3a\u8c03\u4e00\u79cd\u201c\u9519\u7f6e\u201d\uff0c\u827a\u672f\u4e0e\u4e16\u754c\u7684\u9519\u7f6e\uff0c\u73b0\u8c61\u4e0e\u73b0\u8c61\u4e4b\u95f4\u7684\u9519\u7f6e\uff0c\u5b83\u6ca1\u6709\u6574\u4e00\u7684\u903b\u8f91\u4f53\u7cfb\uff0c\u4e5f\u5f88\u96be\u88ab\u5b9e\u8bc1\u6240\u63a8\u5bfc\u3002\u540c\u65f6\u8fd9\u79cd\u201c\u9519\u7f6e\u201d\u7684\u4e5f\u662f\u5bf9\u201c\u8bd5\u9519\u201d\u7cbe\u795e\u7684\u5f3a\u8c03\uff0c\u5373\uff1a\u901a\u8fc7\u5b9e\u9a8c\uff0c\u54ea\u6015\u662f\u4e00\u79cd\u65e0\u7528\u7684\u3001\u5e26\u6709\u9519\u8bef\u53ef\u80fd\u6027\u7684\u5de5\u4f5c\u4ecd\u7136\u6301\u4e4b\u4ee5\u6052\u5730\u5c55\u5f00\u3002\u4e0d\u9884\u8bbe\u6b65\u9aa4\u4e25\u5bc6\u7684\u8d70\u5411\u7ec8\u70b9\uff0c\u6ca1\u6709\u201c\u5386\u53f2\u51b3\u5b9a\u8bba\u201d\u7684\u610f\u8bc6\u547c\u5524\uff0c\u4e5f\u6ca1\u6709\u201c\u8fdb\u5316\u8bba\u5f0f\u201d\u7684\u5fc3\u7406\u671f\u5f85\u3002\u6216\u8005\u8bf4\uff0c\u5b83\u66f4\u50cf\u662f\u4e00\u79cd\u548c\u201c\u65e2\u65f6\u6027\u201d\u201c\u5b9e\u7528\u6027\u201d\u201c\u9053\u5fb7\u6027\u201d\u65e0\u5173\u7684\u5de5\u4f5c\u65b9\u5f0f\u3002<\/p>\n

\u201c\u5b9e\u9a8c\u201d\u7684\u5bf9\u8c61\u662f\u4ec0\u4e48\uff0c\u5b83\u662f\u73b0\u8c61\u4e0e\u4e16\u754c\u4e4b\u4e2d\u7684\u201c\u7a7a\u5c71\u201d\uff0c\u662f\u5173\u4e8e\u201c\u4ec0\u4e48\u662f\u4e16\u754c\u201d\u201c\u4ec0\u4e48\u662f\u827a\u672f\u201d\u7684\u4e00\u79cd\u540c\u6784\u4e0e\u9519\u7f6e\u3002\u201c\u7a7a\u5c71\u201d\u662f\u63f4\u5f15\u81ea\u738b\u7ef4\u7684\u8bd7\u53e5\uff0c\u5b83\u662f\u4e00\u79cd\u4f20\u7edf\u81ea\u7136\u89c2\u548c\u5b87\u5b99\u89c2\u7684\u5f62\u800c\u4e0a\u5b66\uff0c\u7136\u800c\u5728\u8fd9\u79cd\u5f62\u800c\u4e0a\u5b66\u906d\u9047\u4eca\u5929\u7684\u73b0\u5b9e\u8bed\u5883\u4e4b\u65f6\uff0c\u662f\u9519\u7f6e\u7684\uff0c\u800c\u4e0d\u662f\u77db\u76fe\u7684\uff0c\u6ca1\u6709\u65f6\u95f4\u4e0e\u7a7a\u95f4\u7684\u6982\u5ff5\uff0c\u66f4\u50cf\u662f\u4e00\u79cd\u5ff5\u5934\u6216\u51a5\u60f3\u3002\u201c\u9519\u7f6e\u7684\u7a7a\u5c71\u201d\u662f\u66f4\u4e3a\u590d\u6742\u548c\u7834\u788e\u7684\u73b0\u8c61\u53ca\u4f53\u9a8c\uff0c\u4e5f\u662f\u201c\u6c34\u58a8\u827a\u672f\u201d\u5728\u906d\u9047\u4e86\u73b0\u4ee3\u3001\u540e\u73b0\u4ee3\u4e4b\u540e\u6240\u663e\u73b0\u51fa\u6765\u7684\uff0c\u6216\u8005\u8bf4\u662f\u4ece\u672a\u79bb\u5f00\u7684\u4e00\u79cd\u6df1\u5c42\u51b2\u52a8\u6240\u7ef5\u5ef6\u7684\u7eaf\u7cb9\u6027\u4e0e\u8d85\u8d8a\u6027\u4ef7\u503c\u3002<\/p>\n

 <\/p>\n

 <\/p>\n

The Eye of the Ink Painting: the Misplaced Hollow Mountain<\/p>\n

Academic Host:CUI Cancan<\/p>\n

Waving goodbye to the first decade of this century, the contemporary art has gained considerable progress in lega200013lization, capitalization and marketization. However, the \u201cexperimental ink painting\u201d, which was once an ally with the contemporary art but was later condemned to be the \u201cpuppet army\u201d, is still confronted with an extremely complicated, arduous and obscure road, new mode and thoughts and overwhelmingly assorted challenges.<\/p>\n

 <\/p>\n

The new decade creates a special circumstance that further complicates and trivializes the survival and condition of the \u201cink painting art\u201d, rendering it to be more incomprehensible. The intertwining and symbiosis of the pre-modern, modern and post-modern aggravates the rupture and alienation of this concept or subject of \u201cink painting\u201d. The contributing factor also lies with the fact that the sedimentary problem of last century\u2019s ink painting still dominates the new decade, and the collision, exchange, absorption and repulsion among diversified cultures, values and forms under the evolution of politics, economy and society. The conceptions and values systems drenched with varied enlightenment thoughts, scientific demonstrations, artistic self-discipline, political ideologies, fight over identities and frontiers of disciplines always pop up at any time in the \u201cink painting\u201d works and theories, just like a ghost. The misplaced \u201cink painting\u201d world has long surpassed the sacred and pure modern propositions of binary opposition, like \u201ceast \u2013 west\u201d, \u201ctraditional \u2013 radical\u201d, \u201cnational \u2013 international\u201d, \u201cself discipline \u2013 open\u201d, etc.<\/p>\n

 <\/p>\n

We\u2019d better interpret the \u201cink painting art\u201d of the last century to be an open \u201chistory of ideas\u201d led by the \u201cmodernization\u201d, instead of a history of amelioration of Chinese traditional art. Evidently amelioration is a heart-warming and obscure memory that fails to self-justify in a history of ideas as this. It\u2019s not hard to detect the radical emotions that have raged for a century, a tone with historicism repeatedly emphasizing the opposition between \u201cthe new and the old\u201d, \u201cthe traditional and the modern\u201d and \u201cthe backward and the advanced\u201d. We can find among some \u201cink painting art\u201d from last century works created under this \u201cmodern\u201d linguistic mode and theory, which can be briefly divided into the following kinds: 1. the pursuit of the objectivity of truth, employing the means of scientific demonstration, universality and realism; 2. the pursuit of the righteous self-disciplinary ethics through the avant-garde and critical theory of reflection produced by the combination of realism, naturalism, ideologies and ethic standards; 3. the pursuit of pure aesthetic art of autonomy, in resemblance to the classical modern formalism, such as \u201cart for the sake of art\u201d and \u201cart autonomy\u201d. Nevertheless, combing through the 3 directions of development, the seemingly different cut points wind up in the same destination, namely, the \u201cprogress\u201d and \u201cseeking for something new\u201d brought by the modernity that is rooted in the west.<\/p>\n

 <\/p>\n

Even the most \u201cmild\u201d formalism cannot escape from the teleological and utilitarian appeal in reality and political background behind the \u201cartistic self-discipline\u201d. The enlightenment of forms in the beginning of 1980s was also based on the retort against the simplification of forms and fixed modes of languages imposed by the social realism. However, elsewhere in the enlightenment of forms, the hotbed of another \u201cart autonomy\u201d gave birth to the \u201cnew scholar painting\u201d, an heir to the traditional literary lineage, after which rose the discussion of \u201cink play\u201d and \u201cinterest\u201d. The strongest reaction was still the avant-garde criticism of realistic theory of reflection floating around in the history, and the reincarnation of history was rooted in the relapse of the so-called new \u201chistorical criticism\u201d slipping into the same path of its object of criticism (social realism). The \u201cink\u201d remains to be the arena for the fight between radical thoughts and traditional powers in different time and space under diversified histories, cultures, economies and politics, \u201ccultivation with benevolence at the heart\u201d eventually leading to \u201clearning for the sake of politics\u201d.<\/p>\n

 <\/p>\n

The discussion was not limited to the internal clearing and definition of the \u201cink painting art\u201d, instead it was still rooted in the \u201cmodernity\u201d of salvation tradition of the last century and the psychological expectation of treating revolution itself as the prime value of a \u201cgreat power\u201d. Following the trail of the modern transformation of the \u201cink painting art\u201d, from the \u201crevolution of fine arts\u201d, the \u201camelioration of Chinese painting\u201d through the \u201creform of Chinese painting\u201d to \u201cthe dead end of Chinese Painting in the 85 New Wave\u201d and the \u201cstructure on the easel\u201d, these endless waves of radicalism reveal the collapse of traditional Chinese humanism and the triumph of rationality of modern tools. Nevertheless, this triumph does not mean the realization of the wonderful vision prayed by the progress with hidden historicism. The drawbacks brought by the modern transformation of \u201cink painting\u201d are not free from the universality of their Western counterparts: the fierce conflict between \u201cprofessionalization\u201d and \u201csecularization\u201d in the \u201cink painting art\u201d; the new things brought by the \u201cprogress\u201d and \u201crenovation\u201d putting the \u201cink painting art\u201d in a constant excruciating entanglement and choices; the deep opposition and alienation of the physical quality and mental conceptions of the \u201cink painting art\u201d; the total collapse of traditional beliefs, humanistic values and linguistic systems; the loss of \u201cink painting\u201d techniques and the \u201cnoumenon\u201d panic and \u201cmedia\u201d identity brought by it. The string of problems is not only rooted in the heatedness and extremity brought by the particular situation in China and the irrational society changes, but it also exercises the tragedy of \u201cmodernity\u201d itself (as well as constituting a part of it) in the \u201cink painting art\u201d. Like a snake warmed in the bosom, the \u201cmodernity\u201d just keeps on opposing its own traditions and exceeding its own old habits in a ceaseless pursuit to a future with no destination.<\/p>\n

 <\/p>\n

Eventually those thorny problems still need to be dealt with, the autonomous revolution caused by the accumulation and growth of the internal \u201cmodernity\u201d factor is not so fast and smooth as the stimulation from external theories. The big ship of post-modernism berthing on the dock of this unfinished scene of the reform of modernization and the introduction a brand new theoretic mode seem to serve as the anesthetic to these throes. The \u201cidentity problem\u201d becomes an opportunity for the \u201cink painting art\u201d to re-enter the \u201cmodernization\u201d and \u201cinternationalization\u201d, while the \u201cexperimental ink painting\u201d urgently raised. In the basic context in which the problem is raised, theoreticians have listed numerous status quo and crises of the modern transformation of \u201cink painting\u201d, through which they strive to solve the independence of the \u201cink painting art\u201d that distinguishes it from other art languages and features in its process of becoming a world language while sacrificing the traditional features and linguistic systems. Under such premise, in addition to the emphasis on the unique feelings and unique way of witnessing the world and the raising of \u201cpresentist\u201d and \u201cprobability\u201d, the \u201cink painting art\u201d becomes a border civilization to resist the core due to its special \u201cidentity problem\u201d as an \u201cindigenous natural response\u201d. However, the \u201cabstract\u201d encouragement for some \u201cexperimental\u201d status cannot solve in essence the misplacement and crossover of the humanistic values and the rationality of tools under the influence of the \u201ctraditional\u201d and the \u201cnational\u201d, nor can it transcend the conflict of binary opposition, like \u201ceast \u2013 west\u201d, \u201ccore \u2013 other\u201d and \u201cnoumenon \u2013 form\u201d, instead it will be the mirror of the criticized, thus perfecting and consolidating the structural relationship of binary opposition.<\/p>\n

As the request of the age, \u201clearning for the sake of politics\u201d has given birth to the alternating shock of \u201cmedia experiment\u201d and \u201clinguistic experiment\u201d of the \u201cink painting art\u201d, and the secular societal care, logical intellectual validation, assorted update of forms are all propelled by the \u201cprofessionalization\u201d of the political and social urgency. Indeed, this is a periodic result of the modern transformation of \u201cink painting art\u201d as well as a necessary process to go through, distinguishing itself from the \u201cnarrow-mindedness\u201d in essence. But as aforementioned: the \u201cprogress\u201d and \u201cseeking for something new\u201d brought by the modernity that is rooted in the west becoming the initial force of the extension and defense and offense of the \u201cink painting\u201d, why shouldn\u2019t the openness that strives to compete in the international language be another kind of \u201cradicalism\u201d, a path of material gains that is in urgent need of \u201cself-respect and self-improvement\u201d. Do endless pursuit and anxious choice and absorption of new things possess the ultimate metaphysical value for pressing for questions? After experiencing so many reforms and conversions, the \u201cink painting art\u201d still remains a tool abducted by the \u201cpresentist\u201d, its introspective deep cultural construction forever caged inside by the \u201creassertion\u201d.<\/p>\n

 <\/p>\n

The viewing does not only depend on the pure eye, instead it always weighs the relationship between the object and the subject, with the \u201csubjectivity\u201d still remaining the core problem confronting the \u201cink painting art\u201d. Whatever constitutes the eye of viewing, be it the conceptions and values systems of \u201cenlightenment thought, scientific demonstration, artistic self-discipline, political ideologies, fight over identities or frontiers of disciplines\u201d, it can be interpreted to be the judgment and description of the object by the subjective value and form some theory, while a century\u2019s modern transformation of the \u201cink painting\u201d being carried out in the ideals covered by the pair of \u201cmodern\u201d eyes, under which the instantaneity, practicability and morality have become the most significant link in the structural tensity of the \u201cink painting\u201d. In the guise of the \u201cnational\u201d eye, the horizontal classification detached from cultures and forms has converted the \u201cink painting\u201d into a cultural card of strategic identification and a piece of new clothes of self-approval.<\/p>\n

 <\/p>\n

Since the start of the \u201cmodern eye\u201d, the \u201cink painting art\u201d has become a moldable object attached to the \u201cmodernity\u201d theory, a link in the intense structural relationship of binary opposition. The appearance of the \u201cpost-modern eye\u201d brought to the \u201cink painting art\u201d an unprecedented liberation of identity as well as a trap that transcends the intrinsic nature and painting media theory. Now the core confronting the theory and practice is how the wider or even unrestrained historical view would carry out \u201cexperiments\u201d on the horizontal identity issues like \u201cthe national\u201d and \u201cthe border\u201d, and the vertical artistic issues like \u201cthe tradition\u201d and \u201cthe essence\u201d. It is exactly based on the probability of \u201cexperiment\u201d that we not only carry out our work in the current system, but also start from the construction and pursuit of theories to build theoretical self-consciousness. The author puts forward a hypothesis for the way of viewing, namely \u201cthe eye of the ink painting\u201d, the proposition of which shouldn\u2019t be considered as putting the \u201cink painting\u201d into the same theoretical circumstance and methodic systems as the \u201cmodern\u201d and the \u201cpost-modern\u201d. As a \u201csubject\u201d suspended or abducted by the aforementioned two theories, the \u201cink painting\u201d is in need of a kind of \u201cliberation of the subject\u201d \u2013 \u201cde-modern\u201d and \u201cde-post-modern\u201d to some extent, escaping from the shadow of \u201creassertion\u201d and \u201cdualism\u201d in order to obtain the freedom of the \u201csubject\u201d. Or, \u201cthe eye of the ink painting\u201d is an alternative viewing that distinguishes itself from \u201cthe eye of the modern\u201d and \u201cthe eye of the post-modern\u201d when confronted with the same object. The standards of viewing are no longer built on the issues solved by the modern and the post-modern, like \u201cthe new and the old\u201d, \u201cthe progressive and the backward\u201d, \u201cscience and humanism\u201d, \u201cthe radical and the conservative\u201d, \u201cthe international and the international\u201d, etc. it\u2019s a unique way to observe and understand the world.<\/p>\n

 <\/p>\n

As an important practice of the viewing, the \u201cexperiment\u201d is not only a self-conscious experiment of the theory, but also of the practice. It puts emphasis on the \u201cmisplacement\u201d \u2013 misplacement between the art and the world, and between phenomenon and phenomenon; it has no unified logic system and can hardly be deduced by demonstration. Meanwhile, this \u201cmisplacement\u201d also puts focus on the spirit of \u201ctrial and error\u201d, namely the implementation through constant experiments, even if it\u2019s work of futility and with potential for errors. It marches towards the destination without the preset rigorous procedure, echo of consciousness of \u201chistoricism\u201d, nor \u201cevolutionary-style\u201d psychological expectation. To put it in another way, it\u2019s more like an operation mode that has nothing to do with \u201cinstantaneity\u201d, \u201cpracticability\u201d and \u201cmorality\u201d.<\/p>\n

What is the object of \u201cexperiment\u201d \u2013 it\u2019s a \u201chollow mountain\u201d between phenomenen and the world, it\u2019s an isomorph and misplacement about \u201cwhat is the world\u201d and \u201cwhat is the art\u201d. As a quotation from WANG Wei\u2019s poem, the \u201chollow mountain\u201d is a kind of metaphysics of traditional views of nature and universe. But when confronted with the current real context , this kind of metaphysics is misplaced rather than paradoxical, without the concept of time and space, more like a thought or meditation. The \u201cmisplaced hollow mountain\u201d is a more complicated and broken phenomenon and experience as well as purity and transcendental values extended from a deep impulse that is revealed after the \u201cink painting art\u2019s\u201d encounter with the modern and the post-modern or that has never left.<\/p>","protected":false},"excerpt":{"rendered":"

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