很多人早已习惯从“时态”的角度认知和评价笔墨。依照传统中国水墨画所处的社会形态.对照当下的文化语境,历经千年传承的笔墨,已然经历了从农耕时代到工业时代,乃至后工业时代、信息时代的变化。与之相对应的,笔墨文化所依托的精神气质与表现的题材内容,也从重在隐逸文化语境下的抒情写心,迁移到身处都市文化氛围中的状物叙事。如我们所知,更多的观者、艺术家与评论家都普遍认为,面对快速的时代节奏与商业文化的喧嚣,源自古代传统的水墨媒材似乎天然地不适宜表现当代城市街道、高楼大厦、工业生产等象征着后工业时代的秩序、速度与力量的题材。于是 Many people have long been used to recognizing and evaluating ink and brush from the perspective of “tenseness.” According to the social form of the traditional Chinese ink painting, comparing with the current cultural context, the ink after thousands of years of inheritance has experienced the changes from the farming times to the industrial times and even the post-industrial times and the information ages. Correspondingly, the material content of the spirit and expression relied on by the brush and ink culture also migrates from the lyrical focus on the seclusion culture context to the narration of the object culture in the urban cultural atmosphere. As we all know, more and more viewers, artists and critics generally agree that in the face of rapid rhythm of the time and the bustle of business culture, the traditional ink media originated from ancient times seem naturally inappropriate for representing contemporary urban streets, tall buildings Building, industrial production and other symbols of post-industrial order, speed and strength of the theme. then