近一时期,中国水墨画革新从创作的出发点、精神指向、语言方式、操作程序、美感传达等都与传统水墨的审美价值与评价标准大相径庭。文人“游戏笔墨”方式与“逸笔草草”被普遍视为陈腐情调,认为“墨戏”的说法是“无目的性”、“自由的游戏”等等,中国某些现代思想家也指责文人墨戏画是逃避社会责任的堕落。这些看法存在着很大的片面性。将“游戏笔墨”说成是陈腐情调是对其审美价值的否定。文人墨戏画既不像纯粹的“无目的性”、“自由的游戏”,同时,也没有能力为保守、落后和充满疮瘐的社会制度负责。其根据原因就是忽视传统的经典文化是创新的基础。一个时代的艺术形式虽然受到政治、经济、文化等因素的影响和制约, In a recent period, the innovation of Chinese ink painting has its very different from the aesthetic value and evaluation criteria of traditional ink and wash from the starting point of creation, spiritual orientation, language method, operation procedure and aesthetic feeling. Literary style of “game pen and ink” and “Yibi Cao Cao” are generally regarded as a kind of old-fashioned tone. They hold the view that “ink play” is “purposelessness” and “free game”. Some modern thinkers in China also accuse literati Drama is to evade the social responsibility of the fall. There is a lot of one-sidedness in these views. To say “game pen and ink” as a cliché is the negation of its aesthetic value. Literati ink painting is neither responsible for pure “purposelessness” or “free play” nor capable of being conservative, backward and full of sores. The reason is that ignoring the traditional classic culture is the basis of innovation. Although the art form of an era is influenced and restricted by political, economic and cultural factors,