Abstract: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 modem 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 modemization 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 “YiJing/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.