The Ink Language Of Neo-mōrōism

Neo-Mōrōism emerged in the field of contemporary art in China after 2000.It is both a new attempt in the field of Chinese "Contemporary Ink " and another exploration of East Asian Contemporary Art after the Japanese "Mono-ha" and the Korean "Dansaekhwa".From 2013 to 2023,Neo-Mōrōism has held 11 exhibitions and 5 academic symposiums in an attempt to explore a new artistic language by creating works and exploring concepts in parallel,expressing the unique experience of the integration of cultural traditions and modernization processes in China and East Asia,hoping to provide a certain depth of value for contemporary art in China and East Asia,and to expand the international contemporary art field from the East possibilities.Faced with the ambitious goal,Neo-Mōrōism is inevitably too hasty,and behind the merit of strengthening the local cultural perspective,there is still a lack of artistic volume and redundancy,which is especially reflected in the ink language of Neo-Mōrōism.Through the study of the ink language of Neo-Mōrōism,this paper aims to find a purified solution for the further development of Neo-Mōrōism.On the one hand,it explores the continuation of the " authenticity " of traditional Chinese brushstroke and highlights its pursuit of a harmonious "object-me relationship";On the other hand,it extracts the characteristics of shading ink,repetitive brushstroke,and the extension of concepts and comprehensive media,and explores its innovation in the way of perception as a whole.This paper argues that after the purification of the research path of the ink language,NeoMōrōism can promote Chinese " Contemporary Ink " to be more profound and universal,and to express Chinese and East Asian perspectives in a more open form in the context of globalization.