當代水墨畫可貴的是具有實驗性態度，而藝術觀念及語言圖式的變革求新也是其重要特徵。對於「質感」的多元詮釋，並非絕對創新，其最大目的在於形塑一個視覺影像之擬仿原型，提供再加工與再創造的更多可能性，而掀起由「筆」、「墨」、「紙」交織的時代大革命，質感的創生與表現，儼然已經成為通往當代水墨畫之路的標記。因此，臺灣當代水墨畫無異於在「傳統」與「創新」、「傳承」與「實驗」的價值重新認定，是源於中國人天生的水墨情結，也是「圖像創造」、「媒介創造」與「質覺創造」的交替振盪，而創造出的另一種「視觸覺境界」。在藝術家的自我覺醒與時代的遞嬗變遷中，藉由「新」與「舊」、「筆墨」與「非筆墨」的反復交融，建構屬於臺灣當代水墨畫的主體性價值。文中舉出四位藝術家李振明、王源東、葉宗和、莊連東的藝術創作，做為本論文議題的探討與分析，他們在創作技巧上都隱含著異質筆墨與媒材之趣味，且以「石質物像」做為表現主題。也透過四位藝術家的創作分析，印證理論，給予當代水墨畫創作面向之參考依據。 Contemporary ink painting is valuable in the experimental attitude, and the transformation of the art concept and the language schema is also the important features. The multiple interpretations of t＂texture＂ is not absolute innovation, and the purpose is to shape an intimated archetype of visual image, providing more possibilities of reproduction and recreation, as well as making a mixing revolution with ＂pen＂, and ＂ink＂, and ＂paper＂. The creation and performance of the texture is nearly becoming a road mark toward the contemporary ink paintings. Therefore, Taiwan Contemporary Ink Painting is a re-identification of the value of among ＂tradition＂ ,＂innovation＂,＂heritage＂ and ＂experimental＂. The original Chinese complex of ink painting is the mixture of＂image creation＂, ＂media creation＂ and ＂texture creation＂, and creating ＂a status of visual and touching senses＂.This study through repeated integration of＂new＂ and ＂old＂ as well as ＂ink＂ and ＂non-ink＂will constructthe value of subjectivity of Taiwan Contemporary Ink Painting. Four artists and their paintings are discussed in this paper, including Cheng-Ming Lee, Yuan-Tung Wang, Tzong-Ho Yeh , and Lien-Tung Chuang. The implications in their ink paintings are with the tastes of heterogeneous skills and media, and using ＂ the image of stone texture ＂ as their representation subject. Their paintings can provide references for creations of Contemporary Ink Painting.
