南溪近期所画“墨点系列”，已由他早年追寻传统山水境界转向了探求当代水墨话语之境。南溪多年国内外二地的生活方式与大文化的背景造就了他的艺术体验所形成的独特的水墨语境。如果说南溪以二十几年所探索的山水笔墨结构为他架构了以笔墨符号的秩序性来传达他对当代文化的体验与认识，不如说他仍是一位迷恋中国传统文化内涵的追寻者。庄子由技进道的理念深深影响着南溪的探索，南溪崇敬于范宽忠厚式的山水，千点万点塑造出温柔敦厚的江山，忠实于王蒙心远地偏的千皴万皴，温润着笔墨的浑厚。南溪早期山水画的创作以数百件的体验与精进的耐力为他以点皴为主体，大块面的山石结构孕育着一种关于皴与点的扩展与变体的力量，这一时间大约凝具了有十年之久，也是一个由山水境界向当代文化转换的过程，从南溪二次参加“北京国际美术双年展”的作品看，皴、染、点式的笔墨结构已经在他的现代水墨图式中反复的尝试，并积淀出有体验式经验的技法，即当代文化空间的理念以符号运动的方式来建筑他的视觉精神。

　　由此南溪墨法的系列作品开始了他新的文化情境，把一个点作为个体的方式来剖析，这里也有着西方人本空间理念的显现。材料是传统的方式，笔法转向墨法、染法、由众多的每一个“我在”汇成了南溪的视觉场，这也成为他以技法的独特语言消融在当代人的话语文本之中，其模糊与清晰的组合使一个个的个体延伸不断的重复再重复，构成了庞大网式的固体风格。不论是远观近看，南溪的这些作品对材料的体悟、对传统笔墨的解读与他立足当代人文的智慧具有现代诗性的意义。

　　2006年10月于北京

　　Reactions to Nan Qi’s Recent Ink Paintings

　　By Tian Liming

　　Nan Qi’s recent Ink Dot Series has moved from his early pursuit of traditional landscape states towards a searching within the realms of contemporary ink and wash language. Nan Qi’s many years of traveling both abroad and in China and his extensive cultural background have cultivated the formative experience of his individual ink and wash language. The more than twenty years that Nan Qi spent searching in the structures of landscape brushwork act as a framework for his unique brushwork and as a methodology for transmitting his understanding and experience of contemporary culture. That is to say he is still one of those who has a passion for the meanings found within traditional Chinese culture.

　　Zhuangzi’s skillful Daoist proverbs profoundly influence Nan Qi’s pursuit. Nan Qi respects Fan Kuan’s monumental landscapes, whose infinite dot strokes shaped gentle and honest landscapes. He loyally stands with Wang Meng’s distant heart and his multitude of textures that brought to life deep and dense brushwork. Many of Nan Qi’s early landscape paintings steadfastly kept to such dots and texturing. Most of the mountain structures were full of an expansive and shifting strength of textures and dots. This period of gestation lasted about ten years, and was also a part of the process of moving towards contemporary culture through the realm of landscapes. By looking at those of Nan Qi’s works that participated in the second ‘Beijing International Art Biennale’, one can already see repeating texture, wash and dot brushwork structure in his modern ink and wash schema, as well as experiments with accumulated technique, which craft the vigor of his vision through the contemporary cultural concept of an active method of symbols.

　　This new cultural manifestation began in Nan Qi’s series of individualized inkwork, by taking one dot as the central unit. This is also the same manifestation as a western spatial concept. Materials are traditional, while brushwork has turned towards inkwork and wash technique, establishing Nanqi’s vision through multiple accumulations of each dotted expression of the self. This has also become an individual technical language through which he mixes contemporary human texts, a blending of the murky and the clear using each and every individual unit and stretching it to endless repetition, crafting a huge and complete network. No matter whether seen up close or from afar, these works posses a poeticly modern significance in their realization of material form, their liberation of traditional brushwork, and for their basis on contemporary literati knowledge.

　　Beijing, October 17, 2006

作者：田黎明（北京中央美术学院中国画学院院长，...