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点、染,绘画语言中的视觉实体之极,一个最小,一个最大。点,在几何、物理学意义上只有位置而无形态,但在绘画上,它是绘画语言之母,是情思演化之源,甚而是视觉聚焦的核心。染,渲染、沾染,附着上颜色,铺陈开调子,是点线的弥散和晕化,是画家情绪的明快传递和缓慢渗透。在中国绘画史上,以线勾勒物型而平涂填色是其初级阶段,看似简单的一点一染却标志着绘画的发展与成熟。在中国山水画史上,点染,可以说是其由初级阶段迈向高级阶段的里程碑,特别是水墨渲染滥觞于山水画则是文人画兴起的明显标志。
Point, dye, painting visual language in the extreme, a minimum, a maximum. Point, in the sense of geometry and physics, has a position and no shape, but in painting, it is the mother of painting language, the source of emotion evolution and even the core of visual focus. Dyed, rendered, contaminated, attached to the color, spread open tone, is the dotted line of dispersion and halo, is the artist’s emotional expressive transmission and slow penetration. In the history of Chinese painting, it is the initial stage to draw lines and outline objects and colors. The seemingly simple point-and-click dyeing marks the development and maturity of painting. In the history of Chinese landscape painting, spot dyeing can be said to be a milestone in its transition from the initial stage to the advanced stage. In particular, the appearance of ink painting in landscape painting is a clear symbol of the rise of literati painting.