记者:在大家的印象中你一直是当代中国“实验水墨”的一员干将,你如何看待传统?当然这里所指的传统主要是指元代以来一直掌握“话语权”的文人水墨。阎:首先请允许我澄清一点:我始终不赞成“实验水墨”这种叫法,在1997年中央电视台《美术星空》专题组来天津美院拍摄采访我时,我就表明了不赞成的态度(那个编导还不太高兴)。那部专题片的名字就叫《水墨的实验》,到了1999年皮道坚先生主编《黑白史》丛书时,我又一次提出我的看法;在我看来,“实验”二字,明显地来自西方的科学概念,也就是指接近于科学实验的语言实验,可能其他画家觉得这样称呼比较合适也比较准确,但是我的作品不合适也不准确,我的创作不是语言实验这种类型的。另外,“实验”二字,总有一种不成 Reporter: In your impression, you have always been a member of Contemporary Chinese “Experimental Ink Painting.” How do you view the tradition? Of course, the tradition here refers mainly to the literati ink that has always held the “right to speak” since the Yuan Dynasty. Yan: First, let me clarify one point: I always disagree with the notion of “experimental ink painting.” When I was interviewed by the Tianjin Academy of Fine Arts in a special project entitled “Art Star” by China Central Television in 1997, I showed a disapproving attitude (That director is not too happy). The name of the feature film is called “Ink and Wash Experiment.” By the time Mr. Pi Dujian edited the series “Black and White History” in 1999, I once again put forward my opinion. In my opinion, the word “experiment” obviously The concept of science from the West, that is, a language experiment close to scientific experiments, may be more appropriate and accurate for other artists, but my works are inappropriate and inaccurate. My writing is not of the type of language experiment. In addition, the word “experiment” always fails