1993年以后,由于文化背景及艺术语境都发生了重大的转换,所以批评界围绕现代水墨的实践与相关问题进行了广泛的讨论,主要论题是:现代水墨究竟能否进入中国以及世界当代艺术的格局。大家的看法分歧虽然不小,但无不隐含着特定的价值判断和文化选择。归纳起来,大致有本质论、消亡论、媒体论、表现论、观念水墨论、新保守主义论及文化介入论。所谓“本质论”是指对水墨画作本质主义的理解,代表性人物是郎绍君。在一系列文章中,他一再坚持水墨语言的内在一致性,即笔墨作为中国水墨画的特殊语言方式和接受方式,积淀着中国文化的精 Since 1993, due to the great changes of cultural background and artistic context, critics have conducted extensive discussions on the practice of modern ink and wash and related issues. The main topics are whether modern ink and wash can enter China and contemporary world art The pattern Although the divergence of views is not small, all of them imply specific value judgments and cultural choices. To sum up, there is a general theory of essence, extinction, media theory, expressionism, conceptual ink painting, neo-conservatism and cultural intervention. The so-called “essential theory ” refers to the essentialism of ink painting understanding, the representative figure is Lang Shaojun. In a series of essays, he insisted on the inherent consistency of the language of ink and wash, that is, ink and ink, as a special language and way of accepting Chinese ink painting, accumulates fine Chinese culture