Zhang Yu began to consider consciously in the middle and late 1980s the cultural problems involved from the viewpoint that some changes should be made in ink and wash. He is one of the earliest explorers of abstract ink and wash in the field of experimental ink and wash and seeks for all kinds of possibilities in the properties of ink and of paper. Meanwhile, he practises firmly and unshakably according to his own

　　sensations from the outset. The cultural problem lying before him is that of the transformation of ink and wash, that is to say, the problem of how to introduce entirely new forms into this old type of painting rather than simply to make small changes in the original pattern. Zhang Yu forges ahead to this goal slowly but resolutely. In his Divine Light Series of 1995, Zhang Yu has reached such a height that, in form, with complexity as his point of departure, he has ultimately used pure ink masses as his narrative language, while in meaning, he has subverted the traditional pattern of so-called“mood”with the metaphysical final state. Hence, through his sustained efforts, Zhang Yu has opened up another way different from those of the past to the realization of the modern character of ink and wash.

　　The key to the modernization of ink and wash lies in the solving of the dilemma that has existed since modern times, that is, how to preserve the self image of ink and wash as a Chinese type of painting and at the same time to insert this traditional type of painting into the contemporary society and seek a harmonious joining point with the contemporary society. In a great number of language trials in the movements of modern ink and wash rising one after another, the abstract ink and wash undoubtedly merits attention. There is no doubt that in this practice Zhang Yu is of some significance in the sense of art history. This is not only because he has entered the field of ink and wash with the greastest momentum, but also because has made a persevering effort and brought various possibilities of this type of painting to the extreme. When at long last he arrived at the Divine Light Series, the unity of extreme simplicity and extreme complexity and the consideration about both the material and the properties of ink have reached a new height. The peculiar charm of ink and wash has been extended to such an extent that if its features were abandoned ink and wash would be anything but ink and wash and if some changes had not been made the spirit inherent in ink and wash would not have been really manifested.

　　Through his effort of more than ten yeas, Zhang Yu has made another practical contribution, that is, he has continuously promoted the development of ink and wash from the angle of publication. The series Trends of Modern Chinese Art of Ink and Wash at the End of the 20th Century compiled under his editorship which takes explicitly the promotion of the progress of contemporary ink and wash as its fundamental aim most effectively reflects the present situation of the progress of modern ink and wash and shows the hardships and achievements to both insiders and outsiders. This practical work is even more important and realistic for the field of ink and wash than mere practice in art. What is more, this work of Zhang Yu’s shows that he has worked from tow sides from the outset. On the one hand, he promotes the development of modern ink and wash from the angle of practice in art, on the other hand, he brings people with the same goal together from the angle of propagation; on the one hand, he presents through his practice in art and shows his solutions through his works so as to gain the initiative in the field of ink and wash, on the other hand, he sets forth various viewpoints through publication and shows the fruits of all kinds of practice so that the readers may arrive at a new understanding in theory. I think, therefore, that these two kinds of work may well be regarded as of the same nature. Their significance lies in the effort to be involved in modern history, to prevent modern ink and wash from becoming an “outsider” or an “absentee”in the modern cultural movement, and to prevent the problems of ink and wash from being “suspended”. As a result, Zhang Yu, in this respect, has made ink and an element of “history” and has made it of“historic significance”.

　　GuangZhou

　　March 1998

　　Yang Xiaoyan: Art critic, deputy director of lingnan

　　Art Press, China, and chief editor of the magazine Gallery.

作者：Yang,Xiaoyan