中国工笔重彩绘画是以墨线界定的方式,进行并列、调和、对比,从而使色彩感更加强烈、鲜明。就中国的色彩观念来说,它是象征性的,通过单色的并置和色相的对比而增加光彩,从中感受到生命的活力。清人方薰在《山静居画论》中说:“设色不以深浅为难,难于彩色相和,和则神气生动,否则形迹宛然,画无生气。”在古代绘画的许多方法中,以纸、绢、毛笔、矿物颜料、植物颜料等为主要材料,进行勾、 China’s heavy-colored painting is based on the definition of ink line, parallel, reconcile, contrast, so that a more intense sense of color, distinct. As far as China’s color conception is concerned, it is symbolic. It enhances the luster through the contrast of the monocolor juxtaposition and hue, and feels the vitality of life from it. Qing Fang Fang-fu said in his theory of “mountain statues and paintings”: “It is hard not to create shades of colors, difficult to match colors, and to be vividly or otherwise, without any trace of life.” Many of the methods in ancient painting In paper, silk, brush, mineral pigments, plant pigments as the main material, hook,