The idea of "construction•inhabitation•thought" is derived from the thought of Heidegger, a famous German philosopher, and my thinking on ink creation has been aroused by his thinking on the topic of "construction•inhabitation•thought". Since the beginning of the 19th century, people have paid attention to and discussed the context of ink art. With the transformation of its artistic form and its cultural background, it has become one of the most concerned cultural phenomena at present. In this paper the writer analyzes the relationship and inheritance between modern and contemporary ink painting and traditional ink painting in terms of creative thought, ink art techniques and aesthetic images, and she probes into the influence of modern and contemporary ink painting on the theme of "construction•inhabitation•thought" through the analysis of the environment, creation and some cases of artists so as to realize the effective combination of ink art and its context and the theme of "construction•inhabitation•thought".
The paper consists of seven parts. In the first part the author explains the reasons for the paper, analyzes the construction of "construction•inhabitation•thought" in the context of modern and contemporary ink art, arranging the research purpose and motivation, content and scope, significance and method of the paper. The second part expounds the contextual relevance between modern and contemporary ink and traditional ink. Among them, the evolution of time, creative thought, ink art techniques and aesthetic images all belong to the behavior of cultural inheritance. In the third part the writer analyzes the pluralistic context form of modern and contemporary ink art, so as to enlighten the theme of The fourth part gives the explanation of regional nature of modern and contemporary ink painting. Taking Jiangsu ink art as a regional case, the writer adds the relationship between modern and contemporary ink and traditional ink, especially in terms of artistic spirit, philosophy and tradition, as well as the changes of its own new concepts. The fifth part is the explanation of the creative concept of "construction•inhabitation•thought"--the theme of the whole series of works, transforming "building", "living" and "conception" from theory to practice monologue, and then creating works with personal style, and summing up the direction and feasibility in the process of self-creation. The sixth part is the series creation practice and the work analysis. Finally, the conclusion summarizes the cultural connotation of the series of works from the height of Chinese culture itself, and points out that the development of ink painting needs to return to its own cultural roots and renew its characteristic in order to obtain further advance in the modern and contemporary context.