色彩比水墨要难办得多,色不碍墨酌理论基础是:色与墨发生不谐调冲突时,选取一个易解决的,而牺牲那个让人头痛的,掌握色彩,需要比掌握水墨要高得多的敏感。对于一位多年从事中国画的人来说,要学会当今的色彩理论着实有点晚了,只好凭本能与直觉,像江湖郎中与古代炼丹术士们开方子一般,按神秘的阴阳观念来调配被现代色彩学冷暖化了的颜色。重视色彩并不意味着背离水墨。彩墨画力求让水墨在牵强人意中回到其自卑的自由。只有当人无意识地应用水墨时,水墨才在自身的自由中,一位彩墨画家也许比一个传统水墨画者更清楚水墨的 Color is more difficult to do than ink, color does not impede ink discretion theoretical basis is: color and ink inconsistent conflict, choose a easy to solve, and sacrifice the headache, master the color, you need to master the ink is higher Much more sensitive. For a man who has been engaged in Chinese painting for many years, it is really a bit late to learn the color theory of today. Only by instinct and intuition, like the ancient alchemists in the rivers and lakes, prescribing the prescription according to the mysterious concept of yin and yang, Color science and chill color. Focus on color does not mean deviate from the ink. Colorful ink paintings strive to make ink in the far-reaching return to their freedom of inferiority. Only when people unconsciously apply ink, ink is in its own freedom, an ink painter may be more clearly than a traditional ink-wash ink