Nowadays, most people still hold the idea that the Chinese Painting is traditional and conservative. Due to its thousands of years development history and complex traditional aesthetic system, Chinese painting is still regarded as an elusive and obscure are form. However, the traditional language and aesthetic system is built on the basis of the civilization of the traditional agricultural society. Under the greatly changed modern social context, shouldn’t the Chinese ink painting transform to adapt to the modern language? We always understand and state the Chinese ink painting from the perspective of history, value and philosophy. However, if we could jump out from such inertial thinking and find a new path, for instance, we could deconstruct the same concept from the perspective of the material and skill of writing brush, ink and paper, we may find a new development direction of the Chinese ink painting.
We know: rice paper+Chinese brush+ink+aesthetic taste of traditional Chinese painting=traditional Chinese painting
We could know: No rice paper+non- Chinese brush+non-ink+non-aesthetic taste of traditional Chinese painting=non-traditional Chinese painting
If we exchange two or three parts of these two fundamental formulas, what would happen? With such recombination, could we still taste the flavour of Chinese ink painting? Otherwise, what kind of exchange could erase the sign of Chinese painting?
The above is the basic constitution of my deconstruction plan. I kept thinking when I did this research. Which part is the core of Chinese painting on earth? Do we have to be limited by traditional material when we show the ink and wash, and express the traditional aesthetic taste? If not (Many people have been working on contemporary ink painting), then what kind of reason, way and process could we deal with to come to this conclusion. In this research, I choose to explore on a painting of flowers and fruits drawn by Bada Shanren during the first stage, which is representative. Of course, it also has unavoidable limitation, which would be further researched during the second and third stage. To some extent, when this process is admitted, the thought foundation that lets the public accept contemporary ink painting would come into being. Afterwards, the doubts about contemporary ink are bound to disappear gradually.