如果说水墨是对现代主义阶段现代水墨及其以前中国画的统称的话,那么“再水墨”则是带有很强的后现代性色彩,它并不是真的回归水墨,实则是对水墨的颠覆与超越,这不仅仅是观念形态和媒材样式的突破与超越,它其实是重新建构了一个新场域,这个场域颠覆的是一个关乎“中国画”的评价标准和教育体系。 If we say that ink painting is the general term for modern ink painting and its former Chinese painting in the modernist stage, then “ink painting” is a very strong postmodernist color. It does not really return to ink painting, Subversion and transcendence are not just the breakthroughs and transcendences of the concepts and media styles. They actually recreate a new field that subverts the evaluation criteria and education system related to “Chinese painting.”