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抽象水墨,是发轫于上个世纪60年代,确立于八五新潮美术时期,成长于90年代中国画领域的一种具有特殊意义的艺术样式,严格的说,它不是一个画派或一种风格,而是一场影响甚至改变中国画命运的思潮。所谓抽象水墨,是指水墨画家们的艺术实验围绕抽象的方式进行,它虽借用了西方“抽象”(abstract)一词,但由于水墨本身的特质及文化内涵使这种艺术创作超越了西方抽象绘画的层面并与其有着本质的区别；同时,它所开创的笔墨语言深度及演绎的当代精神图像又是对传统绘画的积极反叛。这独具的双重品质让其承担了无可替代的历史功用：对中国当代艺术价值的反思和批评并积极寻求中国画自身现代性重建的可能。无论是价值上受到传统水墨的压力,还是形态上面临西方抽象艺术的挑战,抽象水墨显示的自身艺术主权注定是当代的,东方的和本土的。
Abstract Ink and Wash is an art form of special significance which was founded in the 60s of the last century and was established in 1985 during the trendy and fine art period and grew up in the field of Chinese painting of the 1990s. Strictly speaking, it is not a school of painting or a style, But a trend that affects or even changes the fate of Chinese painting. The so-called abstract ink and wash refers to the artistic experiments of ink and wash artists conducted in an abstract way. Although it borrows the word “abstract” in the West, it has surpassed Western abstraction because of its own characteristics and cultural connotation The level of painting and the essential difference between them; at the same time, the language depth of the pen and ink and the contemporary mental image deduced by it are also active rebellions against traditional painting. This unique double quality has assumed an irreplaceable historical function: the reflection and criticism of the value of Chinese contemporary art and the active pursuit of the possibility of the reconstruction of modernity of Chinese painting itself. Whether it is under the pressure of traditional ink painting or the challenge of morphologically facing Western abstract art, abstract ink painting shows its own artistic sovereignty is destined to be contemporary, oriental and native.