水墨画作为一种独特的中国绘画方式,具有不可替代性。虽然表现建筑的中国画——界画古已有之,然而界画所描绘的只是山林建筑,或者说是画中带有亭台楼阁的山水画。算得上表现都市景观的古代中国画作品似乎仅有《清明上河图》之类的典范之作——但那也只是农耕社会型态的都市。到了20世纪50、60年代,都市一时成为歌颂新中国的重要题材,新兴的都市还与林立的烟囱演绎成社会主义建设的新图景。不过那时当代性的艺术观念还不可能产生,因而并没有出现都市水墨或“城市山水”等概念。因此,堪称表现现代都市景观与生活方式的都市水墨,成为中国画科中的全新概念,都市水墨是近几十年发展起来的新的水墨样式,也是中国画现代性转型的一个范例。它往往是与传统山水画相异乃至于对立的姿态出现。概而言之,都市水墨就是传统水墨的一种当代表现方式,是反映都市人文内涵、形式趣味、文化心理的一种新型艺术门类。本文对都市水墨的界定、表现内容、当代沿革做了较为细致的梳理。同时还对都市水墨的绘画语言突破表达了自己的看法,并通过对王秋童、赵绪成、聂危谷等代表性画家的作品分析,阐述了都市水墨在笔墨语言、作品题材、审美意境等方面的探索。最后,通过自己《都市意象系列》的构思、创作实践表达了自己对都市水墨诸多方面的理解。笔者以为,随着不可阻挡的都市化前进步伐,一方面,都市水墨将会成为中国画多元发展趋向中的重要一员,另一方面,都市水墨的表现内容与形式语言探索将为中国画“笔墨当随时代”提供有益的例证和参照。 Ink painting as a unique way of Chinese painting, with irreplaceable. Although the Chinese painting depicting architecture - the world has been ancient painting, but the boundary painting is only depicted in the forest buildings, or paintings with pavilions landscape painting. The ancient Chinese paintings that make up the urban landscape appear to be the epitome of “Qingming Shanghe Tu” - but only urban farming. By the 1950s and 1960s, the city became an important theme of praising New China for a time, and the emerging cities and the chimneys all over the place were interpreted as a new picture of socialist construction. But then the concept of contemporary art is not possible, so there is no concept of urban ink painting or “urban landscape ”. Therefore, urban ink and wash, which represents the modern urban landscape and lifestyle, has become a brand new concept in Chinese painting. Urban ink and wash is a new ink style developed in recent decades and an example of the modern transformation of Chinese painting. It is often different from the traditional landscape painting or even opposition to the appearance. In short, metropolitan ink and wash painting is a contemporary way of expression of traditional ink and wash, and is a new type of art that reflects the connotation of urban humanities, the interest of forms and cultural psychology. In this paper, the definition of urban ink, performance content, contemporary evolution made a more detailed carding. At the same time, he also expresses his own views on the breakthrough of urban ink painting language. Through the analysis of the representative painters such as Wang Qiu-tong, Zhao Xu-cheng and Nie Gui gu, this paper expounds the exploration of metropolitan ink and wash ink in terms of pen and ink language, works theme and aesthetic conception . Finally, through his own concept of “urban imagery series”, his creative practice expresses his understanding of many aspects of urban ink painting. On the one hand, metropolitan ink and wash ink will become an important part in the multi-dimensional development trend of Chinese painting. On the other hand, the performance content and formal language exploration of metropolitan ink and wash ink will be the key to Chinese painting With Time "provides useful examples and references.