“达达一点都不现代,它在性质上更像回到一种近乎佛教般的默然状态”——特里斯坦·查拉1922年于德国魏玛大会Dada is not at all modern;it is rather a return to a auasi-Buddhist religion of indifference.-Tristam Tzara Conference in Weimar,Germany,1922现代艺术史学家,特别是伯特·温特-玉木,经常说美国和欧洲的50年代是一个无数画家对水墨特别感兴趣的年代。~1这股新“东方主义”风潮源于脱离了语境却热衷于彻底颠覆旧有理论的狂热,主要是以线条和做作的姿势为兴趣中心的。这种媒介及其相关的想象可以在美国抽象表现主义艺术家——例如马克·托比、罗伯特.马瑟韦尔或者杰克逊.波洛克——的创作实践中找到;也出现在萨姆.弗朗西斯或者今井俊满等“行动艺术家”的作品里;在非常规意义上的“西方书法家”乔治·马修等人的作品 “Dada is not modern at all, it is more like a return to an almost Buddhist state of silence in nature.” - Tristan Chala 1922 Weimar Conference, Germany Dada is not at all modern; it Tristam Tzara Conference in Weimar, Germany, 1922 Modern art historians, especially Bert Winte-Tamarind, often say that the 1950s in the United States and Europe were a myriad of painters The era of special interest in ink. This new “Orientalist” wave stems from the fanaticism that has been out of context but keen to completely subvert the old theory, mainly focusing on lines and postures as a center of interest. This medium and its associated imagination can be found in the creative practices of American abstract expressionist artists such as Mark Toby, Robert Motherwell, or Jackson Pollock; also found in Sam Francis or Imai Junman and others “action artist ” works; unconventional “Western calligrapher ” George Matthew and other works