“类相”是一个同中国文化认知方式紧密相联的范畴,“类相色”则是中国画家以“类相”的认知方式对色彩 进行的总体性把握。本期刊发的陈建军的《中国绘画的色彩类相》一文认为。“类相色”是绘画主体运用“以类取” 和“以类予”的认知法则,通过“同类”和“类同”的认知途径,在“顺其自然”又“随其所愿”的主客交融中 创造出的色彩认知与表达系统。作者以此凸显出中国画色彩独特的美学属性。提示人们重新去发现和认识“类”这 一具有浓厚中国文化意味的认知方式。 吴山先生的《论宋、元、明、清的工艺配色》一文系统总结了中国传统工艺配色的实践经验,再现了鲜活的 民族色彩的认识和创造图景。相较而言,陈文侧重色彩认知上的文化渊源,吴文则注重中国色彩的历史实践,两 文可以相互补益。 “Similarity ” is a category closely related to the Chinese cultural cognition. “Similarity ” is the overall grasp of the color by Chinese painters in a cognitive way of “analogy.” This issue of Chen Jianjun’s “Chinese painting color phase” article that. “Similar colors ” is the cognitive principle that the subject of painting uses “class to take ” and “class to ”, through the cognition of “similar” and “similar” “Go with Nature ” and “With Aspiration ” of the subject and object to create the color perception and expression system. The author highlights the unique aesthetic properties of Chinese painting. Prompt people to re-discover and recognize “class ” this cognitive style with a strong Chinese culture means. Mr. Wushan’s article “Process Color Matching of Song, Yuan, Ming and Qing” systematically summarizes the practical experience of color matching in traditional Chinese arts and reproduces the understanding and creation of vivid national colors. In contrast, Chen focuses on the cultural origin of color cognition, while Wu focuses on the historical practice of Chinese color and the two languages ​​can complement each other.