1、刘老师您好，您最早是如何进入当代水墨画创作的呢?当时您所关注的问题是什么?

　　1983年我已毕业留校，两年后湖北因举办“中国画创新邀请展”和创办《美术思潮》而成为新潮美术的重镇。身处旋涡中心又值血气方刚年龄，很自然就参与进去了。要找一个精确的事件或时间作为开始，是1985年参与组识“J.L群体”参加“湖北青年美术节”，这不仅是我平生第一次展出现代水墨作品，还因为后来参加晋京展的资格因美协主席的一句话给毙了，这又极强烈地刺激了我骨血中的叛逆性与创造力。

　　当时的语境是文化大革命结束不久，人们沉浸在精神重获自由的亢奋里。既往的社会规范普遍遭到质疑，所谓的社会主义现实主义创作方法受到批判，中国画首当其冲。那是一个激情澎湃的岁月，我的创作充满了对现实批判的热情，仅凭作品的题目：《不祥之兆-因为想得太远》、《孺子牛撰写的历史-大有作为》、《夹缝》、《喷泻口的独白》、《逃遁》，大致能感受到我的热情与愤青似的激进。

　　2、上世纪80年代中期,您经历了"85美术新潮"之后,您思考的方向是什么?当时的作品是怎样的一个情况?

　　85新潮美术在1989年悲壮的气氛中谢幕，这场有原因没有底气的艺术运动像是在一天里结束的，对现代水墨的打击更是巨大。这时也是我人生最不顺利的时候，心情沉郁，两次病危差点死在医院。在三年的时间里我做了两件事，一是重读楚美术，画了一批以楚魂为题的作品，它们是我惊慌与无助心情真实的写照。二是画了一批抽象水墨，借以舒缓内心的紧张。这是我在现代水墨中试图建立个人语言规范的开始。前者中魂灵的原型来自楚漆器上的纹样，省去上肢不画使其作鸟兽状，是对超时空精神存在的向往。在抽象水墨画中，球体是新出现的符号，和拼贴与硬边一起在升腾、喷薄、飘浮与无序中形成了以墨象为主的现代水墨景观。

　　3、作为当代实验水墨的探索者,您是首位以实验水墨的名义举办个展的艺术家,在当时是怎样的一个情况?以及您所展出的作品和以往有什么不同?

　　个展的名字叫“墨与光-刘子建实验水墨画展”。“墨与光”在1996年比利时的一个实验水墨画展时用过，皮道坚取的，这次用它想强调两个展览之间的关联，另外，我很喜欢这三个字，我的释意是“黑暗深处旳光”。

　　个展起因很偶然，杨维民带着他策划的画展到深圳，在我画室看了我旳画后便说给你策划一个展览。说实话，当年以“实验水墨”的名义办个展几乎不可能，市场不认，政府大展不容，缺钱又不合法，个展怎么办?杨维民说我免费给你策展。

　　我比他人的幸运在我能从黄真那里拿到办展览和出画册的钱，我们是多年的朋友;我能从湖北美术出版社免费拿到书号，刘明是我中学美术组的小兄弟;先联系的是首都师大，但在《江苏画刋》登广告时，顾丞峰说你的个展怎能在师大办呢?中国美术馆装修可以联系国际艺苑美术馆呀。扬维民找到刘迅，刘迅说这是最好的展览，还免了不少场租;画展的座谈会是郭晓川主持的，座谈会开得很成功，“座谈会记要”后来被殷双喜收在他编的《当代艺术中的刘子建》书里了。

　　个展中的作品都是我南迁广东后创作的，在1994年-2002年间，作品中的一些新因素是过去作品中没有的，就是各种水墨形体重叠堆砌造成的层次丰富的物质感、网络感以及膨胀、挤压和纠缠的意象。

　　4、您是如何面对西方的抽象表现主义等已有的历史资源的?除了自身的文化背景之外,您觉得您和它们的区别又是什么?

　　有人说我画中的硬边、拼贴受西方的影响，而使用的媒材又是中国的宣纸与水墨，给理解带来困难。我觉这都是借口，根本原因是：西方人不接受现代主义的表现方法和中国宣纸水墨的接合，我们自己认为只要是现代化的就一定是西方式的，水墨画应该放弃。前者是霸权主义，后者是犬儒主义。这次在美国大都会美术馆和古根海姆博物馆，两次看到标明受东方影响的西方艺术展，其规格之高，显示西方人对向别人学习并不以为然。

　　整个中国现代艺术运动都受西方的影响，现代水墨概莫能外，但它的本土性决定了它不可能完全模仿西方。拿我个人来说，我选择宣纸水墨、选择了圆和它的碎片作为符号、选择黑色的空间、选择硬边与拼贴，完全出于个人的意愿而不是为了模仿，因为在这些选择的背后都有很具体的原因。

　　选择水墨宣纸，因为它的轻薄、通透、水墨流变形成的偶然性与随机性，是其它任何媒材都不具备的特点;选择黑色的空间，是想用混沌的黑色空间颠覆传统中国画省略不画的空白，借黑暗把水墨带出它的历史阴影;选择圆和它的碎片为符号，出于复杂的个人心理与经历和对生死主题的思考;选择硬边与拼贴，除了前面提到的那些原因需要新的表现形式的支持，则完全基于我对宣纸质性的认识，对纸本来说，撕揭、拼贴、拓印本来是很自然的一件事，又由于拼贴造成的硬边对水墨的自然流变具有强硬的阻断机制。后来有批评家说我的作品是受了哥特利布、罗科斯或马瑟韦尔等人的影响，这是没有根据的。在他们的画里，符号、结构有太多数理上的讲究，带着超现实主义的因素和宗教情感，而我的作品没有一个对立的具象艺术需要反对，画里也没有方向感，物体在失重的环境中漂浮，表现的是人本身的无望。

　　5、您在上世纪90年代中期创作的一些作品,如<<时间碎片>>等,相比较80年代作品,构图变得更加纯粹以及形式感亦加突出,这样的一个转向在您的创作思路中是怎样考虑的?

　　艺术创作对我来说是很感性的一件事情，靠直觉把握。上世纪90年代中期何以会创作出《时间碎片》这样的作品，我想是因为我做了父亲。儿子的诞生是生命的一个奇迹，关于这个故事我在《风中的帆，使生命之舟节节进展》中有交待，他让我对生命的毁灭与新生充满敬畏。球体和它的碎片及十字有它生物学与心灵史的依据，对生命认知与体验的当下感受，需要构图的纯粹性与特别的形式感。

　　6、您的近期作品<<垂丽之天象>>系列,从形式上更加完善,内容亦更加趋于人文关怀,能否谈下这个系列的创作思路以及思想架构?

　　2004年，我完成深圳水墨双年展上那张《以刘子建命名的星》之后，不仅不打算放弃“架上”，反倒对这个问题有了新的认识。“架上”是人为设置的一种限定，要解决的是画面上的问题，当下语境中对水墨绘画语言的深入研究，并不像一些人认为的没有意义，事实是，如果欲求水墨语言的现代转换，或着眼于现当代水墨画自己完整的美术史线索，那么，水墨“架上”的追求就远未到终结的时候。

　　黄专说中国当代艺术正经历某种沉沦。这种沉沦来自于前卫艺术对大众意识和流行文化的妥协和纵容，时尚化和反智化不仅使它逐渐丧失了自由主义的反思立场和精英地位，也使它沦为政客权力、传媒权力和资本权力的附属品。无论是服从于专制文化的再现，还是服从于大众意识形态的媚俗艺术，都是艺术自由的敌人。这种情况下，用艺术的精英化保持对市场、时尚及流行文化的警惕与距离，通过反思去批判和阻止这种庸俗，便成为恢复前卫艺术革命性的使命。

　　正是在这种情况下楚美术重入我的视野，这一次不是因为它的神秘，而在于它表现出来的那种超模拟手法建造奇特空间的想象力，这是一种典型的东方精神。我不再试图利用现代工业和生活垃圾的痕迹来证明我艺术的当代性，但我也没有直接挪用楚美术现成的图形与形式，我凭自己理解弄出来一些无可名状的抽象符形，希望呈现一种精力弥漫大气盘旋的气势。

　　7、您的水墨创作经历了多个阶段,从个人的创作角度出发,您觉得水墨在将来发展的可能性是什么?

　　水墨将来发展的可能性是什么?在这个问题上理论家过去说过很多。很多理论家在这个问题上的观念或立场是媒材决定论的，中国水墨因媒材的本土性特征与西方的样式不同，而被怱略，他们的责任仿佛只在努力弄懂西方的东西，或向西方介绍西方能理解的东西，对无力向西方介绍自己无所谓，弄不好，中国当代艺术就只有输入的理论没有输出的理论。水墨是中国的问题只能指望自己，但在中国至今没有人从理论上对现代水墨作系统性的研究。是理论滞后影响了水墨的发展。

　　这次“墨非墨”在美国展出，根据美方不断提供过来的信息，“墨”的概念让他们感到新鲜与惊奇，这个不同于西方概念的“墨”，让他们发现在中国当代艺术中还有这么一块他们不了解却很有意思的艺术。这个展览在美国结束后，还将去东欧几个国家。这个展览说明国家开始重视向外介绍自己的现代水墨艺术、西方亦对中国的水墨表示兴趣、加上现代水墨十几年的沉默修炼已经成熟，随着中国综合国力愈加强大说话有了自己的话语权，现代水墨的前景有什么值得堪忧的?

　　8、您觉得水墨画艺术是作为一种文化精神在您的作品里延续,还是作为触发创作灵感的媒介?

　　水墨千年文脉不断，干丝万缕各是各的线索，取舍看人再乎什么。什么是精神的精确定义，我说不清楚，但我的创作对水墨纯粹性的长期坚持，倒是用过一些心思。“水墨为上”是古训，在传统中一直没有中断。我这样说绝对不是在为自己找理由，日本摄影师荒木经纬就说过：中国人往往无意识地通过黑白、浓淡的手法传达某种精神性，中国人的肉体和精神上都浸染着水墨。真羡慕这种被墨浸染的本质。皮道坚更是把“形而上之墨”解释成“是一种冥想、沉思、开悟的生活。”水墨既然是这样一个灵性的自在物，它与我的直觉又是如此投缘，自然总是能触发我的创作灵感。

　　9、您怎么看待水墨画在国际背景当中的问题和发展以及实验水墨在中国当代艺术中的特殊性以及它的发展对中国当代艺术产生的影响?

　　中国是现代化后发性国家，很多方面因滞后而被动，水墨是个典型，证明全球化过程中不同文化间的冲突确实存在，所以说国际背景中的中国水墨是当代最真实的中国问题。在西方看来，有没有中国水墨无关紧要，但在中国不行，如果没有水墨，中国当代艺术就是残缺不全的，美术史怎么写?

　　西方的影响主导了中国当代艺术，从价值取向到表现形式遵循的都是西方化的标准。对中国当代艺术来说，西方一开始就是强势，又因为西方的选择，西方人看到的中国当代艺术中就很少有现代水墨的身影。

　　这里面也有我们自己的问题，过去我们政府不提倡当代艺术，现代水墨受压制，无形中就迎合了西方的策略，力图消解中国当代艺术中的中国身份。中国水墨艺术，执意在西方方式与标准之外探索中国自己艺术的现代化之路，这样的方向本应受到国家的鼓励与支持，结果相反，实验水墨的成长过程是最具说服力的证明。文化作为软实力最终要体现为国家之间的较量，在过去一轮与西方的较量中我们的确是输了。

　　实验水墨在中国当代艺术中的特殊性，是由水墨的历史地位和现实需要决定的。几千年来水墨一直占据在中国文化的至高点上，而在全球一体化的背景中，实验水墨已然又成了本土文化现代转换艰难命运的象征。实验水墨努力要证明的是水墨是一个开放的媒材、要证明中国当代艺术并非只有西方化一条路可走、要证明的是什么才是实验性艺术的文化担当与价值。

　　10、近期,有什么创作计划?以及您所追求的又是哪一种水墨方式?

　　从“垂丽之天象”开始，我的创作进入了一个和以往全然不同的阶段，这种对楚美术的想象还会持续一段时间。这之前的作品带有很强的现实生活的痕迹，为的是使水墨贴近当下，而新的主题却在对传统资源的利用中，营造出了一个只可遥想无从把握的世界，这个摇曳生姿的空间带有私密的自传性质，缘起于我从小对宇宙空间的迷恋，和对遗失了的我三岁时和屈原雕像的一张合影照片的记忆，那张照片让我从小就把屈原认作是了一个我的什么人。屈原是一个以香草美人自喻的孤独者，我对楚美术的理解很大程度上是通过对屈原的想象完成的。画法不会有大的改变，稍有不同的地方仅在嫌墨不够黑，用了些丙烯，用了一点点金。

　　11、今年,除了“墨非墨—中国当代水墨邀请展” 国际巡回展之外还有什么展览计划?现在和画廊是怎样的一种合作关系?

　　除了“墨非墨-中国当代水墨国际巡回展”确定要在东欧国家巡回，已确定下来的另外两个展览是7月11日北京上上美术馆的“09′中国当代水墨年度邀请展”和7月30日广东美术馆的“两湖潮流-湖南•湖北当代艺术展1985-2007”。我现在和画廊没有固定的代理关系，只有松散的合作。

　　12、最近,较为低迷的艺术市场对您有影响吗?您怎么看待这次低迷状况?

　　对我没有什么影响。现在都在说艺术市场低迷，价格泡沫破灭，画卖不出去，这些和实验水墨没有太大关系。实验水墨在市场上没有那么多的画，实验水墨在中国当代艺术中是一个另类，没听说过老外在它身上下赌注，它也不是流行文化或大众艺术，也未见人做局疯炒，实验水墨的市场是在稳健中发展起来的，所以它不怕艺术市场沉浮。

　　实验水墨是是靠学术上的成功进入了艺术史的艺术，它的中国身份和本土化特征，或可能让一些外国人还在观望，毕竟很多时候欣赏与收藏依靠的是习惯。在中国，只有那些具有很高文化素质和艺术品位的藏家，才欣赏得了它或懂得它的价值。目前来说，它的学术价值在市场上还未充分体现出来，中国艺术市场不成熟的一个重要标志就是市场价值无法反映艺术史价值。近些年人们逐步意识到了实验水墨在中国当代艺术中的重要性，这与几部重要的美术史书籍的出版机国内外美术馆的收藏有关，使真心收藏中国当代艺术的人将它列为收藏的重要内容。实验水墨的市场价格在平稳上升，收藏人群在扩大。艺术市场低迷对实验水墨可能是一种机遇，资本收缩必然意味着目标更集中，好的艺术一定会得到好的对待，我很乐观。

　　Conversation on Arts with Liu Zijian

　　1. Professor Liu, When did you first start the contemporary art painting? What did you focus on?

　　I graduated from the Academy of Fine Arts, Hubei Province in 1983 and became a teacher at the Academy in the same year. Two years later, Hubei province became the center of the new trend art as it held "Invitation Exhibition on Innovation of Chinese Paintings" and founded "Ideological Trend on Arts". Having been influenced by the new trend and as a young man lived and worked in this center, I actively participated in the modern ink painting exploration and creation. The accurate event or starting point which triggered my inspiration for modern art creation was to help organize "J.L Group" and participated in "Hubei Youth Arts Festival". This was the first time I showed my works on modern ink painting. However, my qualification for showing my works in Beijing was deprived by the Chairman of Arts Association, Hubei. This further strongly inspired my natural deposition of rebellion and creation.

　　The background to that period was the end of the Culture Revolution. People were immersed in the excitement of regaining spiritual freedom. All the past social norms were widely queried. The so-called socialist realistic method was criticized. Chinese paintings were the first to be affected. This was a time everyone was full of passion. My works were also full of the enthusiasm of criticizing the realistic society. The enthusiasm and cynicism were shown even from the titles of my works, such as: "Evil Omen – as Thinking too Far", "Bright Prospects – History Written by a Servant of People", "Crevice", "Monologue on the Mouth of Gushing out", "Escape".

　　2. After experiencing "85 New Trend on Arts" in the mid 80's of last century, What did you think about? How about your works?

　　85 New Trend on Arts was responded to a curtain call in the solemn and tragic atmosphere in 1989. This movement with a good reason, but without sustaining power, seemed to end in a day. This attacked more severely on modern ink painting. This period was the most difficult period in my life, too. I felt depressed and was twice almost driven to death by serious illness. I had done two things in three years: one was to re-read the arts of Chu, a State in the Warring States (B.C.475-B.C.221), which covered the region of Hubei and Hunan in the mid south China. The main theme of my works were the Soul of Chu. They were the real reflection of my panic and helplessness. The second thing was to create a series of abstract ink painting in order to relieve the tension in my heart. The was the beginning that I tried to establish my won language and expression methods. The original model of the Soul in the first category was from the veins on the lacquerware of the Chu State. I omitted the arms to make it like a bird or an animal in order to reflect the strong wish of the spiritual existence beyond the universe. In the abstract ink painting, the balls were the new symbols. The balls, together with collages and hard edge objects were rising, gushing out, floating disorderly, thus to form the modern ink landscape.

　　3. As an explorer in the contemporary experimental ink painting, you were the first to hold a solo exhibition. What was the background? What were the differences between the works on this show and your previous works?

　　The name of the solo was called "Ink and Light – Exhibition on Experimental Ink Paintings by Liu Zijian". This name was given by Pi Daojian, and was used in an experimental ink exhibition in Belgium. The purpose to use this name in this solo was to reinforce the connection between these two shows. In addition, I like these three words, which I explained as "light from deep darkness".

　　This exhibition was held out of a very special occasion. Yang Weimin came to Shenzhen for a show curated by himself. He saw my works in my studio and volunteered to curate a show for me. It was almost impossible to hold a solo show under the name of "Experimental Ink Paintings" at that time. How to organize a solo without market recognition, government support, funds and legal status? However, Yang Weimin promised to curate the show for free.

　　I was luckier than others because I could get funds from Huang Zhen to hold the show and to print catalogues. We were friends for many years. I could get a free ISBN from Hubei Fine Arts Publishing House. Liu Ming was my middle schoolmate. We studied at the same arts group. He first contacted Capital Normal University in Beijing, but when we put a piece of advertisement on "Jiangsu Art Monthly", Gu Chengfeng said:" how can your solo exhibition be held in Capital Normal University? National Art Museum is in renovation, but you can contact International Art Gallery Museum." Yang Weimin contacted Liu Xun. Liu Xun said it would be the best show and he also reduced the rent to a great agree. Guo Xiaochuan hosted the symposium for the show. The symposium was very successful. The "Summary of the Symposium" was edited and collected by Yin Shuangxi and published in his book named "Liu Zijian in Contemporary Arts".

　　All the works shown on the solo exhibition were created after I moved to Guangdong, dated from 1994 to 2002. Some new elements in the works were never shown in my previous works. The overlapping and piling up objects created images of materials, grids, bulges, compressions, and tangles.

　　4. How do you treat the existing historical resources like Western abstract expression? In what way do you distinguish yourself from expression besides your own culture background?

　　Some people said the hard edge and collage methods are influenced by Western style, but the media I use is still rice paper and ink. This combination makes it difficult to comprehend. I feel these are excuses. The basic reason is Westerners do not accept the combination of modernism expression and Chinese rice paper and ink. We ourselves think whatever called modern must belong to the West, so ink painting should be given up. The first is hegemonism and the latter is cynicism. I saw two Western art exhibitions in both Metropolitan Museum of Art, New York and Guggenheim Museum of Art, New York. These two exhibitions are highly influenced by the East. The high quality and standard show the Westerners are willing to learn from others.

　　The whole process of Chinese modern art movement is influenced by the West, so modern ink painting is not an exception. However, its local nature decides it cannot completely copy the West. To take myself as an example, I chose rice paper and ink; and the ball and its fragments as a symbol, and chose dark space, hard edge and collage methods. These were totally from my personal will and love, not for the purpose of imitation. There was a very specific reason behind each symbol and method.

　　I chose rice paper for ink wash painting is because of its thinness, transparency, and the accidental phenomena and randomness formed by ink wash flow. Other media does not possess these characteristics. To choose dark space is to use hazy dark space to overturn the method of "leave empty white space without drawing for imagination" used in traditional Chinese painting. I wanted to use darkness to bring ink out of its historic shadow. To use balls and their fragments as symbols were out of sophisticated personal feeling, experiences and thinking about the theme on life and death. To choose hard edge and collage were out of my deep understanding of the nature of rice paper in addition to the reasons as to find new expression methods mentioned above. When using paper as a media, tearing, collage, rubbing, printing are natural methods. To choose this method is also because the hard edge created by collage has a strong blocking effect on the natural flow of ink wash. Some critics said my paintings are influenced by Adolph Gottlieb, Mark Rothko or Robert Motherwell. Such sayings have no basis. There are too much attention and elaboration on mathematical logic in the symbols and compositions of their works. These symbols and compositions are connected with surrealist elements and religious feelings However, in my works, there is not a image against figurative art; and there is no directions. Objects are floating in the zero gravity. It represents the hopelessness of a man himself.

　　5. Regarding the composition and form, comparing with the works created in 80's, those created in mid 90's, such as "Time's Fragments" are purer and more outstanding. How do you describe such a change?

　　To me, art creation is out of my personal perception and controlled by intuition. The reason I created works like "Time's Fragments" was because I became a father. The birth of my son was a miracle. I have explained this in more details in my book "Sail in Wind, Pushing Life Boat forward". His birth made me full of awe and veneration on demise and newborn. Balls and their fragments and cross have their biological and spiritual connections. My recognition on life and feeling as a father required me to explore pure composition and special forms.

　　6. From your recent works "Bright and Beautiful Celestial Images", we found the forms were more perfect and contents were more human. What are your creation approach and structure of ideas?

　　After I finished the piece "A Star Named After Liu Zijian" (shown on Shenzhen Biennial Ink Painting Exhibition) in 2004, I decided not to give up "Hanging on the Wall". Instead, I have a new understanding on this. "Hanging on the Wall" is a limitation defined by people. The real problem to be revolved is the appearance of the painting. The further and deeper research on ink painting language and skills are of a great significance, unlike some people think the research is not necessary. In fact, in order to realize the modern transformation of ink painting language, or focus on the complete art history of modern and contemporary ink paintings, we find the pursuit of "Hanging on the Wall" in the ink painting has a long way to go.

　　Huang Zhuan mentioned that Chinese contemporary art is experiencing some kind of depravity. This depravity is from the compromise and connivance of Avant-garde art to public consciousness and pop culture. Fashion consciousness and anti-intellectualism not only deprive it of its reflection views on liberalism and elite status, but also turn it into appendage of politician power, media power and capital power. It is the enemy of art freedom to follow the reappearance of autocratic culture or follow kitsch art of public ideology. Under such a circumstance, it becomes the revolutionary mission to restore Avant-garde art through art elite system to be vigilant and keep at a distance from fashion and pop culture and to criticize and stop such philistinism through reflection.

　　This was under such a circumstance the art of Chu re-entered my vision. This time it was not because of its mystery. It was because of the imagination on singular space created by a method beyond imitation. This was a typical oriental spirit. I did not attempt to prove the contemporary nature of my works through traces of industrial and living rubbish. I did not directly adopt the ready made shapes and forms from Chu art, either. I created non-prescribed abstract symbols based on my own understandings. I hope it created a great spiral momentum of vigor hovering the atmosphere.

　　7. You have experienced several stages in ink painting creation. What do you think about the potential developments of ink painting in the future from the point of view of your personal creation?

　　What is the possibility of ink painting development in the future? There were a lot of comments from theorists in the past. The concept and position of these theorists are media determinism. The media of Chinese ink wash was ignored because of its local nature and different forms from the Western's. The responsibilities of these theorists seemed to understand the West, or to introduce to the West something which the Westerners can understand. They did not care about the lack of strength in introducing ourselves. In the end, it may become that the Chinese contemporary theories become input theories, not out put theories. Ink painting is a Chinese art. Its research should be carried on and problems should be resolved by ourselves. However, it is a pity that up till now there is not a systematic study on modern ink painting from the theoretical point of view. The development of ink painting was affected by the delay of its theory.

　　According to the feedbacks from the American organizers of the "Ink Not Ink" show, the concept "Ink" made them feel fresh and surprised. This "Ink" is different from Westerner's concept. It reminded them of the fact that there is an interesting art which they do not understand in contemporary Chinese art. After the American show, it will be traveled and showed in some Eastern European countries. This show showed that our country started to pay attention to introduce the modern ink painting to the outside world, and the Westerners are also interested in Chinese ink painting. In addition, modern ink paintings have become mature through silence and practice over the past ten years. Why should we worry about the future of modern ink painting when the comprehensive national strength become greater and when we have the right to speak?

　　8. Do you feel ink painting is a kind of cultural spirit which extends in your works, or a media which triggers your creative inspiration?

　　Ink painting has a history of thousands of years. There are all sorts of clues. What to accept and what to reject depend on personal choice. I cannot define clearly what is "spiritual". However, I spend time on and stick to the use of pure ink. "Ink and wash are superior" is an old maxim and ink is used all the time in tradition. I am saying this is not to find excuses for my own. Nobuyoshi Araki, the famous Japanese photographer once said: Chinese people usually use black and white, thick and thin method to express some kind of spirit unconsciously. The body and soul of Chinese people are dyed and rinsed by ink and wash. I admire the nature of being dyed and rinsed. Pi Daojian further explained "Ink is superior than form" as " a kind of life style including meditation, pondering and enlightenment". Since ink and wash is such a unrestrained substance and it also matches my intuition a great deal, it certainly can trigger my creative inspiration.

　　9. What do you think about the problems and developments of ink painting under the current international background, its specific characteristics and its influence on Chinese contemporary art.

　　China is a country of posterior development of modernism. It is passive in many aspects because the developments lag behind. Ink painting is a typical example. It proves the conflicts among different cultures do exist in the process of globalization. In such a case, the Chinese ink painting under the international background has becoem the realest contemporary Chinese issue. It does not matter to the West whether there is Chinese ink painting, but it is an important issue to China. Without ink painting, the contemporary Chinese art is incomplete. How can we write art history?

　　Western influence dominates Chinese contemporary art. We follow the West in terms of standards for value evaluation and expression methods. To Chinese contemporary art, the West is stronger and more powerful from the very beginning. Moreover, the Westerners seldom see ink paintings in what they see in Chinese contemporary art because of their own choices.

　　There is also our own problem. In the past, the government did not encourage contemporary art. Modern ink painting was held back. It catered to the Western strategy of cancelling Chinese identity in Chinese contemporary art. Chinese ink painters were exploring their own modernization way outside the Western methods and standards. This should have been encouraged and supported by the government. On the contrary, the growth of experimental ink painting provided extremely convincing evident. As a soft power, culture will finally reflect the competitions among countries. We lost the competition against the Westerners in the past round.

　　The specific characteristics of experimental ink painting in Chinese contemporary art are decided by its historical position and practical requirements. For thousands of years, ink paintings have occupied the highest position in Chinese culture. However, under the background of globalization, experimental ink painting has become the symbol of modern transformation of native culture. The ink painters are trying to approve that ink wash is an open media, and Chinese contemporary art does not have to follow the only road of being Westernized; and to approve what are the cultural obligation and value of experimental art.

　　10. Do you have any creation plans recently? What ink painting form are you pursuing?

　　From the "Bright and Beautiful Celestial Images", my creation entered into a totally different stage. The imagination on Chu art will last for a while. There were clear traces of real life in the previous works. The purpose was to be closer to the current environment. By using the traditional resources, I created a new theme of an imaginary world which cannot be controlled. This flickering and charming space has a kind of secret autobiographic nature. It is rooted from my obsession about universe and space and the recollection of a missing photo taken with the statue of Qu Yuan when I was three years old. I thought I had a relationship with Qu Yuan because of the photo. Qu Yuan regarded himself as a lonely man who adorned himself with vanilla and orchid. My understanding of Chu art largely depends on the imagination of Qu Yuan. There will not be much change in painting method. The only difference is to use a little propylene as I feel the black is not dark enough. In addition, I also use a little gold color.

　　11. In addition to the international tours of "Ink Not Ink – Invitation Exhibition of Chinese Contemporary Ink Painting", do you have any exhibition plans? Do you have any cooperation with art galleries?

　　The next stops of the tours of "Ink Not Ink – Invitation Exhibition of Chinese Contemporary Ink Painting" will be several European countries. In addition to this, the other two exhibitions which have been decided will be the "09 Annual Invitation Exhibition of Chinese Contemporary Art" to be opened on July 11 in Beijing Sunshine International Museum and the "Trend of Hunan and Hubei – Contemporary Art Exhibition of Hunan and Hubei 1985 – 2007" to be opened on July 30. I do not have fixed proxy relation with any art gallery. Instead, I only have irregular cooperation with the galleries.

　　12. Does the recent depressed art market exert any influence on you? What do you think about this depression?

　　Not much influence on me. People nowadays are all talking about the depressing market, broken price bubbles and less channels to sell paintings. These have not much connection with experimental ink painting. There are not many ink painting works on the market. Experimental ink painting is an alternative in contemporary Chinese art. We never heard that foreigners stake on this. It is not pop culture or public culture, either. We have never seen market speculation in this art. The market of experimental ink painting has been developing steadily and it can stand the ups and downs of the market.

　　Experimental ink painting has been recorded in art history based on its academic success. Foreigners may still take a wait-and-see attitude because of its Chinese identity and native characteristics. Appreciation and collection largely depend on usual practice. In China, only the collectors who are highly well-educated and have a sense of artistic taste can appreciate it and understand its value. According to the recent situation, its academic value has not been fully revealed in the market. The most important symbol of immaturity of the Chinese art market is that market value cannot reflect artistic value. In recent years, people gradually realize the importance of experimental ink painting in contemporary Chinese art. This is related to the publication of several art history books and the collections by domestic and international museums. Experimental ink painting is listed as an important component by those collectors who are eager to collect Chinese contemporary art works. The market price of experimental ink painting is going up steadily and the number of collectors are increasing. The depressing art market may be a chance to experimental ink painting. The capital shrink means the investment target is more focused. Good art will be well received. I am very optimistic.