Since 2000 The Creation Of The Concept Of Chinese Contemporary Ink Painting Form And Critical Discourse

In the mid-1980 s,Conceptual Ink Wash emerged.At that time,as an emerging art phenomenon,it was just considered as one of development approaches of modern ink wash.However,in the 1990 s,the conceptual ink wash achieved significant progress by virtue of a lot of efforts paid by artists,who were aimed at driving development of conceptual ink wash through different approaches and methods as well as from its different aspects such as media,calligraphy and form.In the late 1990 s,the field of conceptual ink wash was very prosperous and became an important component of China's contemporary art.Since 2000,the conceptual ink wash not only remains some characteristics such as emphasis on media,material and calligraphy it had during 1990 s,but also highlights the context in which the conception is valid and the correlation between the conception and its art history.As the title of the paper was “Creation Forms and Critical Discourse of China's Conceptual Ink Wash Since 2000”,this paper was aimed at discussing and exploring new changes of China's conceptual ink wash and construction of its criticism since the new century.In fact,since the Newtide Fine Art Movement in 1980 s,art criticism began to actively get involved in society and creation.In the field of conceptual ink wash,art criticism played a very important role of booting its development.On one hand,development of art creation and evolution of concepts eliminated established creation paradigms and destabilized established creation thoughts to give birth to a new artistic ideological trend,causing new academic problems.Therefore,it's necessary for criticism to response to it and to elaborate on it for summarization.On the other hand,criticism should not be just an appendage of creation or a tool for interpretation.In contrast,criticism is also a kind of knowledge production.It can generate new critical discourses,so as to construct new critical theories.Therefore,the paper tried to discuss which critical voices and critical discourses emerged in the field of conceptual ink wash since 2002 as well as what interactions or tension relationships among these critical discourses formed.In this paper,a linear examination of development of conceptual ink wash since 1980 s wascarried out,in which characteristics at important stages were described.In addition,the paper was focused on summarization of new morphological characteristics of conceptual ink wash since 2000,including transition from “Pen and Ink Form” to “Conceptual Ink Wash”,shift from deconstruction of text language to conceptual deconstruction,seeking breakthrough from rhetoric,aesthetics and habits of traditional ink wash,and transition from expansion of morphological boundaries to conceptual ink wash.In this paper,a case study was carried out to further explore internal changes of conceptual ink wash.With respect to changes brought by conceptual ink wash,there two contrary voices in the critical world: a supportive one and an opposed one.But in my personal opinion,it doesn't make sense to discuss whether the viewpoint is positive or negative.What I want to pay more attention to are whether new critical discourses are generated,what theories these critical discourses are based on,how the elaboration system and art history context are carried out,and what effects they have on creation of conceptual ink wash.Therefore,the last part of this paper discussed what difficulties and challenges the conceptual ink wash will be faced with in its future development as well as what new possibilities it can have in the new art history context by virtue of overall atmosphere of China's contemporary art.