把下面这段话翻译成英文：51226抽象语言抽象水墨画中的物象一定是经过高度符号化处理的抽象水墨更多的是强调水墨本身现代表现性的多种可能性 从水墨的各个单元出发 以前卫的姿态探索并实验水墨新的语言表达形式。当代水墨画的抽象语言相对于传统是从无到有的创造是借鉴西方抽象艺术的表现形式是对中国画的成功改造。抽象语言打开了水墨画的另一番天地探索出水墨抽象表现的新局面丰富了水墨画的表现领域使水墨画有更多的可能

5.1.2.2.6 Abstract Language The objects in abstract ink paintings are highly symbolized. Abstract ink art emphasizes the various possibilities of ink expression, starting from each unit of ink and exploring and experimenting with new language forms of ink with a avant-garde attitude.

The abstract language of contemporary ink art is created from scratch relative to tradition, borrowing from the expression forms of Western abstract art and successfully transforming Chinese painting. The abstract language opens up another world for ink painting, exploring new aspects of abstract expression, enriching the expressive field of ink painting, and allowing for more possibilities. Examples of this are the works of Zhang Yu and Sang Huoyao.

5.1.2.2.7 Integrated Language of New Materials and Techniques Traditional ink paintings were limited in terms of their materials and techniques due to the level of production technology at the time. They were simple and relatively limited, and techniques were relatively singular. In addition to the conservatism and formalism of traditional painting, there was almost no use of new materials and techniques. It was not until the arrival of the Eighties in the 20th century that ink painting made a breakthrough in material and technique.

Contemporary ink painting uses extremely rich materials, different types of brushes, inks, paper, pigments, and media such as gelatin and detergents, and also uses many new techniques, such as spraying, layering, burning, printing, wiping, rubbing, collaging, overlapping, printing, and gold and silver foil, etc., making the picture more diverse and tension-filled. With the use of new materials and techniques, new painting themes have emerged, such as urban ink, abstract ink, and experimental ink, represented by artists such as Liu Zijian and Liang Quan.

5.1.3 Traditional and Contemporary Ink Painting Artistic Spirit The change in the form of ink painting ultimately stems from the change in cultural spirit. The change in artistic language accompanies the evolution of artistic ideas and methods through the ages. The aesthetic realm pursued by Confucianism and Taoism is the main ideological root of Chinese art, and later the thoughts and aesthetic realm of Zen Buddhism further enriched and developed the Chinese artistic spirit, making the artistic characteristics of China more ethereal, mysterious, and profound. Although "Confucianism," "Taoism," and "Zen Buddhism" are originally different and opposed to each other, they are reflected and infiltrated in the artistic spirit, influencing and complementing each other. This relationship determines the themes, content, form, and language methods of Chinese art and cultivates Chinese art to have an Eastern national spirit and style.

The summary of the traditional and contemporary ink painting artistic spirit can be approached from two aspects: aesthetic view and artistic view.

5.1.3.1 Aesthetic View 5.1.3.1.1 Traditional Aesthetic View The aesthetic view of traditional ink painting is closely related to Chinese Confucian, Taoist, and Buddhist thoughts. Zen Buddhism has a unique insight into the artistic intuition, emphasizing that the artist's state should be a pouring and explosive quality, like "pouring out the mountains and rivers in his chest onto the paper." Zhuangzi mentioned the free spirit of "disrobing like a storm," which is in line with the pursuit of freehand brushwork, cultivation, personality, and literary thought emphasized by Chinese artists, forming a unity of intuition and cognition.

Chinese aesthetic thought is a tripartite unity of essence, beauty, and goodness, which unifies the subjective and objective, the spiritual and the material, and maintains a vital and rational spirit. The goal of realistic depiction of objects is to write the inner style of the artist. Chinese ink painting does not aim to imitate nature and reproduce nature as its purpose, but rather seeks spiritual expression and emotional expression related to nature in natural life, and pursues the highest realm of meaning, spirit, atmosphere, and charm, taking "vitality" as the top criteria and "harmony between man and nature" as the ultimate pursuit.

Chinese ink painting is an artistic expression of Eastern aesthetic thought, which specifically embodies the philosophical artistic expression of "harmony between man and nature," and is an image, ink, and comprehensive art. Therefore, the traditional Chinese aesthetic view is manifested in the beauty of imagery and ink.

Chinese painting emphasizes the mood and interest of brush and ink, and the ultimate goal of brush and ink is to create an infinite and profound mood. The mood is the perfect fusion of sentiment and scenery. "Sentiment" is the aesthetic image that integrates aesthetic experience and aesthetic emotion in painting, and "scenery" is the concentration of the essence of interesting objective things, which is fused with the painter's feelings and thoughts. Through the painter's ingenious creation, it achieves the realm of expressing emotions through scenery and integrating sentiment and scenery, thus producing a special artistic infectious power. The main aspect and expression of creating the mood is the unity of opposites and the interdependence of reality and illusion. The creation of the mood is realized in the spatial processing of the picture, alternating between reality and illusion, and creating a metaphysical realm of emptiness, distance, and emptiness.

The aesthetic of brush and ink is first manifested in techniques. "Brush and ink" can be seen as the basic traditional painting skills of the painter, which come from the "bone method of using brush." It is also a regularity of running the brush explored in the process of painting creation. The five colors of ink and the appropriate thickness are the microcosmic level of brush and ink aesthetics, which is a technical aesthetic achieved through the expression of "brush and ink." The existence or absence of "brush and ink" and the level of "brush and ink" become a judgment of the painter's skills. Secondly, brush and ink aesthetics are also reflected in interest. Brush and ink, with individual differences, carries different cultural experiences and aesthetic interests. In the process of painting, brush and ink not only depicts objects, but also plays a dual role of "depicting objects" and "expressing emotions." Its aesthetic level is manifested in the degree of harmony between the image, form, and the painter's emotion and concept.