正是这种绝非是戏墨的墨戏，让戏曲水墨画成为后来许多画家乐于耕耘的一块乐土，成为任其自由驰骋的疆域。
Just the ink play, absolutely not play ink, enabled ink painting of Chinese opera to become a happy land for many successors to diligently work in, and a free realm for them to exert themselves.
墨戏作为中国绘画史上被歪曲和忽视历久的一种绘画形式，是一种中国古人所特有的戏玩心态和创作方式。
Ink play, as a kind of drawing forms distorted and neglected for a long period of time, is a unique playful mentality and creative work of the Chinese ancients.
本文分为五个部分论述“墨戏”的美学视阈。
This article divides into four partial elaboration about "the ink play" esthetics horizon.
第二章探讨墨戏的生成原因。
第三章简析了墨戏的审美品格。
The third chapter has analyzed the ink play esthetic moral character.
第五章对墨戏和现当代水墨画的关系加以简单思考。
The fifth chapter pondered relations between the ink play and the present contemporary ink and wash painting.
中国画由青绿向水墨的转变在一定程度上为文人墨戏提供了创作方向。
The traditional Chinese painting transformation from dark green to the water ink had provided the creation direction in the certain degree for the literati ink play.
拟从两个层面加以剖析，一是从墨戏逻辑生成层面，着重墨戏产生的哲学根基的析理。
The article analyzed "the ink play" from two aspects. One is from the ink play logic production, emphatically the ink play's philosophy foundation.
文人墨戏这一通说使墨戏一直附属于文人画范畴，但并不代表墨戏画等同于文人画。
The popular saying of "ink play of literati" renders ink play always subordinated to the category of drawings of literati, which, however doesn't mean that ink play amounts to drawings of literati.
文人墨戏这一通说使墨戏一直附属于文人画范畴，但并不代表墨戏画等同于文人画。
The popular saying of "ink play of literati" renders ink play always subordinated to the category of drawings of literati, which, however doesn't mean that ink play amounts to drawings of literati.
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