在传统研究里,水墨画的图式都被规定为外在的媒介,这导致图像与思想走向了分离。也就是说,绘画作品本身无法言说,其意义必须通过语言文宇的表述才能生成。可以讲,在水墨画图式的现代转型的文化叙事里,水墨画图式长期都是缺席的,然而,随着图像学方法的传入,中国部分学者已逐渐接受了图像学的基本假定,认为“图像是思想史研究的一个重要方面”。(葛兆光语)在研究水墨画图式的现代转型时,需要明确 In the traditional study, the patterns of ink painting were all defined as external media, which led to the separation of images and thoughts. In other words, the painting itself can not be articulated, and its meaning must be expressed by the language and language. It can be said that in the modern transformation of the ink-and-wash style of cultural narrative, the pattern of ink and wash paintings has long been absent, however, with the introduction of the method of imageology, some Chinese scholars have gradually accepted the basic assumptions of the imagery that “ Images are an important aspect of the study of the history of ideas. ” (Ge Zhaoguang language) in the study of the modern transformation of ink and wash drawings, need to be clear