序论绘画,是人类有目的地实现视觉理想的艺术创造活动,而表现视觉理想须借助形、色的观念,其主因是它能把主体意识的无穷想象,以图像化形态呈现出来。图像造型主客体的存在方式,是指主体对造形元素——点、线、面构成的几何形体和七彩纷呈色系的直觉反映;客体物象在图像发生时与主体意识达致因果关联。在漫长的人类历史绵延与文化传承中,造型的形式元素以其外在的、表面的样态,虽不能以单纯象形状物而获得独立的观念意义,但经过主体的灵性升华,两者通过创设情境,视觉互动,才能形成完整意义独立的艺术作品。对图像造型主客体存在方式的探讨,认为自觉的主体意识是对客体形、色认知的前提,经过直觉到理性、印象到观念往复观照而相互作用。当华夏先民面对客体物象执笔涂鸦时,绘画主体主观的 The preface theory painting is an art creation activity in which mankind purposefully realizes the visual ideal. However, the main reason for expressing the visual ideal is the concept of form and color. The main reason is that it can present the infinite imagination of the subjective consciousness in a graphical form. The mode of existence of subject and object in image formation refers to the intuitionistic reflection of the main body on the shape and color of the formed elements - point, line and surface; and the object image is causally related to the subject consciousness when the image is generated. In the long history of human history and cultural heritage, the formal elements of the shape, with its external appearance and superficial appearance, can not obtain the independent conceptual meanings as the mere figure, but through the subjective spiritual sublimation, the two pass Create situational, visual interaction, in order to form a complete independent meaning of art. The discussion of the existence of subject and object in image modeling holds that conscious subjective consciousness is the premise of object-shaped and color cognition and interacts through intuition to reason and from impression to concept. When the ancestors of Huaxia were graffiti in the face of the object image, the subject of painting was subjective