治印,首先遇到的是“分朱布白”问题,国画也首先遇到这一问题,可以叫“分黑布白”,“知白守黑”、“知黑守白”等。中国画绝大部分于白底子上作画,故尔这个“白”处处都有,充满画面。一幅画一般常常留有大块的空白,这大块的空白能否处理得好,至关重要。比较有经验的画家,作画时都很注意留大空白并处理好这块大空白。 治印,遇到的是线与空白的问题,作画遇上的问题比治印还要多,除了线与空白的全部问题都要解决之外,还要解决黑白分布的问题。画分黑调子的画、深灰调子的画、浅灰调的画和明朗占主导地位的画。人们对黑的部分常常很重视,对浅灰重视 The first thing we have to face when dealing with Indian Buddhism is the issue of “sub-Zhu Bubai”. Chinese painting also first encountered this problem. It can be called “sub-black and white cloth”, “obscurantism and blackness” and “black and white”. The vast majority of Chinese paintings are made on a white background, so that this “white” image is everywhere and full of pictures. It is very important for a picture to leave a big blank space, and whether this large gap can be handled well. More experienced painters, drawing great attention to leave a big margin and deal with this big blank. The problem of line printing is confronted with the problem of blank printing. Printing has encountered more problems than printing. In addition to solving all the problems of line and blank, it also has to solve the problem of black and white distribution. Draw black-toned paintings, dark gray paintings, light gray paintings and clear dominant paintings. People often attach great importance to the black part, to light gray