当代水墨,或者说水墨的当代性是不是一个合理的命题?当一切被冠以西方标准的时候,中国本土的水墨艺术就不断被怀疑、挑剔,审判,这种“自我检讨”的力度也随着种种铿锵有力的口号不断加强,身处其中的人始终在逆水行舟。在一种二元对立的思维中,很自然地出现了两组对立:中国与水墨,西方与油画。在此思维之下 Is not it a reasonable proposition that contemporary ink painting, or contemporary ink painting, is a question of “suspicion, criticalness, judgment,” when everything is put on the Western standard? And with all kinds of sonorous and powerful slogans continue to strengthen, those who live in them are always in desperation. In a dichotomy of thinking, two sets of antagonisms have naturally emerged: China and ink painting, the West and oil painting. Under this thinking