今天,当人们去重估中国画的色彩问题时,不能不对千百年来的“黑白”关系,、“有无对应”的逶迤思路暨学理层次表示出某种敬意。因为,以黑色为主的中国画色彩,以一种极单纯的色推演出大千世界的复杂景象来,仅此而言,它便显示出一种特殊的、有意义的品性来。这就是,从黑白的色理中寻到一条古今继承的,对人自身生存意义的诗性关怀;在单纯的黑色之中,悟到了民族哲理的精神表现;在不断地推演中,黑色功能消解了映入眼中的光怪陆离的客观世界景象,建构了富有特色的本土语境。我们可以从三个视角端详:一是个体角度,中国画的用墨,首先是出于个人意念,随之是其学术意向,加上中国哲学诗化性的浸染,最终导致一种 Today, when people try to re-evaluate the color issues of Chinese painting, they can not but express their respect for the “black and white” relations and the “no-match” fallacies and theoretical levels for centuries. For the color of Chinese painting based mainly on black colors shows a complex and meaningful image of the world in a very simple color. This is to find an ancient and modern inheritance from the color of black and white, the poetic concern for the existence of human beings; in the pure black, the spiritual expression of national philosophy is realized; in the continuous deduction, the black functional digestion Reflected in the eyes of the bizarre objective world scene, the construction of a distinctive local context. We can look at it from three perspectives: First, from an individual point of view, the ink used in Chinese painting is first and foremost out of personal ideas, followed by its academic intention and the dissemination of the philosophical nature of Chinese philosophy,