With the heated debates on whether Chinese painting should keep it's brush and ink tradition at the end of 20 centuries

a serious of New Ink Art works declared their existence in a series of exhibition related to the idea of "Tension". In contrast to the pursuit of a harmonic world in traditional Chinese painting which involve the freely "walking

seeing

playing

and living"(Guo Xi) of both artist and viewer

the New Ink Art works push this four-dimensional world to an extreme moment of power

speed and tension by borrowing the modern technique of representation including photograph and montage or the technology of light and electricity. Instead of focusing on the political background and identity arguments of the issue of Chinese New Ink Art

this paper tries to investigate the profound shift in mode of time-space perception during the radical modernization period in China which fully embodied in the transformation of Chinese Ink Art. After carefully revisit some conventional painting principle compared with Merleau-Ponty's aesthetics

several New Ink Art works including Xu bing

Chen Shaoxiong

Yang yongliang would be examined as a reflection of the lost of "Yi Jing/poetic world" and an expression of anxious bodily experience in a globalized urban world. It is in this sense that these works regain a both historical and critical "depth" and at the same time

remain their closeness to the intensity of an immediate bodily experience of their own kinds.