笔墨是中国画最重要的特征,也是民族审美标准的实际体现,更是中国画美学中极富特色的本质,其承载的美学理念传承了几千年。造型的发展使中国画具有了时代意义。而色彩作为笔墨的辅助语言,在漫长的中国画发展历程中,还未得到应有的重视。在中西交汇、古今杂陈的当代背景下,重新审视“笔墨、造型与淡彩”的关系,具有积极的探索意义。笔墨的学问很多,笔法、墨法及水的运用程度,还有书写性与塑造相结合等等。笔墨就其大致功能来讲,笔指“勾、勒、皴、擦、点”等,墨为“烘、染、积、破、泼” Ink and calligraphy is the most important feature of Chinese painting and also the actual embodiment of national aesthetic standards. It is also the very characteristic essence of Chinese painting aesthetics, and the aesthetic philosophy carried by it inherits for thousands of years. The development of modeling makes the Chinese painting have the significance of the times. As a secondary language of ink and color, color has not received due attention in the long history of Chinese painting. Under the contemporary background of the intersection of China and the West and the miscellaneous ancient and modern times, it is of great significance to explore the relationship between “ink and brush, style and light color” again and again. A lot of knowledge of the pen and ink, brushwork, ink law and the extent of the use of water, there is a combination of writing and shaping and so on. In terms of its general function, the pen refers to the “brush, le, 皴, rub, dot”