“新水墨”一词流行多年,是为当代美术最自负的概念之一。然其边界却相当模糊,从抽象水墨实验,到具象表现水墨的拓展,乃至零星的水墨装置探索,均可以“新水墨”的名称而括之。时至今日,“新水墨”的边界扩张似乎没有停止的意思,每位具有维新愿望的艺术家都试图将其引入更为广阔的疆域。近日读了刘赦的百余幅水墨山水作品,此念更为笃实。初观刘赦的作品,即觉其气弥新,时代气质鼓荡于其间,复观其作,但觉其义峻远,洋溢着失却已久的文人理想与品质,三观其作,深觉其湛于技而合于道。有 “New Ink ” popular for many years, is one of the most conceited concepts for contemporary art. However, the border is rather vague. From the abstract experiment of ink painting to the development of the image-expressing ink painting, even the exploration of sporadic ink installations can be covered by the name of “new ink painting.” To this day, the boundary expansion of “New Ink and Ink” does not seem to stop. Every artist with the desire for reform tries to introduce it into a broader territory. Recently read Liu Hu’s ink paintings of hundreds of landscape works, this idea is more authentic. Looking at the works of Liu Amnesty, I found that the spirit of a new era, the era of temperament drum in the meantime, reviewing its work, but its meaning is far away, filled with the long-lost ideals and quality of the literati, the three views of its work, deep Feel the Cham in technology and in harmony. Have