Today there is nothing left to say about ink painting. We must put aside the narrow thinking about “ink painting” as a concept. There is no need for all this verbosity. The only option is to proceed from artistic expression as such.

　　However, looking back at the development of ink painting, it is true that it has undergone a progressive course from Chinese traditional painting to an exploration of Chinese traditional painting, then in turn to modern ink painting and experimental ink painting.

　　As for the general development of ink painting, beginning in the 1980s I defied the conventions by claiming:

　　“Abandon ink painting”, by which I expressed the idea of opening.

　　“Ink painting is not the genre of ink painting”, pointing the question towards understanding and methods.

　　“The end of the question of ink painting” referred to a way of thinking that transcended specific media from a clear standpoint.

　　“End traditional ink painting! Create your own contemporary art!” turned ideas to face the future.

　　By my own practice and reflection I achieved a cognitive transformation from “ink painting genre” to “ink painting” and also a transformation of ideas, thus entering the expressive domain of contemporary art.

　　This was not just my personal trajectory but also that of the development of Chinese ink painting as a whole.

　　The ink painting genre that we left behind was a narrow, hermetic dead end incapable of development; the ink painting which we began was a culture, but even more was the new development of a medium.

　　We ended the age of ink painting as a genre.

　　There is no longer an ink painting problem.

　　Huantie Art Precinct, Dashanzi, 1 January 2011.

　　Translation 2011-01-13 by Archibald McKenzie/Wenzai.

作者：张羽