在中国水墨艺术形态转换的大格局中,面家们都在寻索着自己的文化方位及切入点,力图选取能确立自身价值取向的艺术路标。有的以西方中心主义断裂民族传统,有的则以笔墨为中心排斥其他语言资源,或专注于媒材强化制作感,或向表现、观念方向发展,以触摸当下社会情境中人的变异心态……而学者型画家董萍实的解题方案既很特别,也似乎多了些辩证意味,没有二元对立和极端化色彩,又非改良调和,他的破“缸”建“场”创造新形式语言体系的理论及“形式语言化合说”、“语境升华说”等创见,是对其解题方案的集中阐发,而通过深圳博物馆展正式推出的“语境艺术”, In the large format of the transformation of the Chinese ink art form, the noodle makers are searching for their own cultural orientation and starting point, trying hard to select the artistic signposts that can establish their own value orientation. Some of them break the national tradition with Western centralism while others exclude other language resources with pen and ink as their focus or focus on the media to enhance the sense of production or to develop their performance and concept in order to touch the changing mentality of the people in the current social situation ... ... However, the scholar-artist Dong Pingshi’s solution to the problem is both special and dialectical. There is no dualistic opposition and extreme color, nor is it reconciled. His broken “tank” built a “field” to create a new formal language The theory of the system and other creative ideas such as “formal language combination theory” and “contextualization theory” are the concentrated elucidations of their solutions. Through the formal introduction of the “Contextual Art” by the Shenzhen Museum Exhibition,