虽然,从笔墨入手谈论中国画的相关问题,最有可能趋近对象的某些内里状态,因为淡漠于笔墨也就有可能离圆凿方枘仅仅一纸之隔而已。但是,就我个人而言,却又有另一种的忧虑,觉得动辄都是“笔墨”,极有可能会因而固着于某些狭隘的、无关宏旨的争执,而距中国画中的更为根本、更为吃重的问题,譬如现代性的转折、新的主体性、“入画性”的当代空间以及开始有点扰人的“东方主义”等,反而更显遥远了。而且,在某种意义上,由于“笔墨”的专业色彩,还多多少少有一种封闭与限制话语权力的意味。 Although it is most probable that some problems related to Chinese painting are discussed from the point of view of brush and ink, some inner state of the object may be approached, since indifference to brushwork may only be separated from the circle. However, as far as I am concerned, there is another worry which I feel is always a “pen and ink” that is most likely to be fixed on certain narrow and irrelevant disputes. However, from the more fundamental point in Chinese painting, Even more important problems, such as the turning point of modernity, the new subjectivity, the contemporary space of “painting” and the “Orientalism” that began to be somewhat disturbing, are even more far-reaching. And, in a sense, because of the professionalism of “ink and brush”, there is more or less the implication of enclosing and restricting the power of discourse.