严格地讲,“水墨”与“色彩”两个词汇并不存在并列的语义关系,在色彩学范畴内,显然是后者涵盖了前者所抒发出的名词印象。然而,在中国美术漫长的积淀过程中,“丹青”作为中国“色彩绘画”的代名词早已出现,其后“水墨”以其独特的消色系统所包融的强烈内涵独立开来,逐渐成熟为与中国传统色彩绘画——“重彩”比肩的两个绘画系统。中国绘画艺术在向东亚的传播过程中,尤其是对近邻日本,无论是自唐代以来模仿“唐绘”到自身“大和绘”的丰富色彩,还是宋 Strictly speaking, there is no parallel relationship between “ink” and “color ”. In the category of color science, it is clear that the latter covers the noun impression expressed by the former. However, in the long process of art accumulation in China, “Danqing” has long been synonymous with “color painting” in China. Since then, “Ink and Wash” has been strongly independent of its unique color system Come and gradually mature into two painting systems that stand shoulder to shoulder with Chinese traditional color painting. In the process of spreading Chinese painting art to East Asia, especially to the neighboring Japan, both the rich color of imitating “Tang Paintings” to “Da He Paintings” since the Tang Dynasty, or the Song