四、    中国画色彩的魅力
Fourth, the charm of Chinese painting color
我国古代绘画从来就重视色彩的运用，历代画论对色彩的研究达到很高的水平，古代画家很早就总结了季节、气候不同所引起的物象色彩的变化，并谈到冷热色彩的运用。
Ancient Chinese painting has never been to the use of color, history painting of the color of the study achieved a high level of the ancient artists have long summed up the season, different climate caused by changes in color images, and hot and cold on the use of color 。
[唐]王维在《山水论》中论道：“有雨不分天地，不辨东西，……雨霁则云收天碧，薄雾菲微，山添翠润，日近斜晖。早景则千山欲睡，雾霭微微，朦胧残月，气色昏迷。晚景则山衔红日，帆卷江渚，……春景则雾锁烟笼，长烟引素，水如蓝染，山色渐青。夏景则古木蔽天，绿水无波。……秋景则天如水色，簇簇幽林，……冬景则借地为雪，樵者负薪，渔舟倚岸，水浅沙平。”说明这时我国山水画家对气候、朝夕、季节色彩的变化有了更细致深入的分析，并运用到绘画创作中去。
[Ancient Tang dynasty] wei-wang (701-761) in "Landscape" said: (Chinese painting paintings), "regardless of world weather, things did not identify,…… Yu Ting-yun is up to the sky blue, the fog is Thin, Cui Tian Shan of China and Japan in recent ramp-hui。 Qianshan as early as the King Yushui, little fog, clouds obscured the moon is about to dawn, his luster has been dark。 Wanjing is the title of Red Hill, Vol Fan Jiang Houzhu,… … Chunjing lock Yanlong, fog, smoke Reply-long, with water as blue, green Shanse gradually。 Xia Jing, Gumubitian, no-green water。…… Qiujing, such as water color days, Cucuyoulin,…… Dongjing, Jiedi for snow, Qiao who paid negative, Yuzhou rely upon the shore, shallow sand-ping。 "Landscapes of China's family at this time that the climate, overnight, seasonal changes in color have a more in-depth and meticulous analysis and creative use of painting He said。
[宋]郭熙在《林泉高致》中指出：“水色：春绿，夏碧，秋青、冬黑。天色：春晃，夏碧，秋净，冬黯。”郭熙是中国古代大画家，又是杰出的绘画理论家，他概括地总结了水色和天色的季节变化。 [清]唐岱在《绘事发微》中说道：“山有四时之色，风雨晦明，变更不一，非着色以像其貌。所谓春山艳冶而如笑，夏山苍翠而如滴，秋山明净而如淡，冬山惨淡而如睡，此四时之气也。” [清]沈宗骞在《芥舟学画编》中也生动而具体地介绍四季风景的色彩画法：“春景欲其明媚，凡草坡树梢，须极鲜研，而他处尤黯淡欲以显之。故作春景，不可多施嫩绿之色。-……夏景欲其葱翠，山顶石颠，须绿面加青，青面加草绿。…秋景欲其明净，疏林衰草，白雾苍葭，……冬景欲其黯淡，一切景物，惟松柏竹及老树者，可用老绿，余惟淡赭和黑而已。”形象地描述四季色彩的特点，说明中国画也必须用色彩表现季节和气候的变化。 
 [Song] Guo Xi "Linquan to high" (Chinese painting paintings) pointed out: "Color: Spring Green, Xia Bi, Autumn Green, black winter。 The weather: Haruaki, Xia Bi, a net fall and winter An。 "Guo Xi is the ancient Chinese painters, painting is an outstanding theorist, he summed up the general water color of the weather and seasonal changes。 [-] Tangdai in the "micro-painted the incident," said: "The mountains are 4 color, wind and rain Huiming, change varies as to its non-colored old。 Yanye the so-called spring-like and laugh, but as summer-green drops, Akiyama and reduces noise reduction resulting such as desalination, Dongshan and gloomy as sleeping, and 4 of this gas also。 "[Qing] Zong Qian in" mustard of the boat for painting "vivid and concrete also introduced the four seasons of color landscape painting:" For Chunjing Its beautiful, all grassland Shushao to be a fresh inquiry, and he was at a particularly bleak Yuyi。 Guzuochunjing, not more Shi Nenlv of color。 -…… Xiajing to its Congcui, the Peak-Britain, to be Green-and blue, green face and Caolv。… Qiujing to its reduces noise reduction resulting in Woodland Shuaicao, Bai Wu Chang Jia,…… Dongjing to its bleak, all the features, but pine and cypress trees and bamboo, use the old Green, Ms However, desalination Zhe and black only。 "Color image to describe the characteristics of the four seasons, shows that the Chinese must also be painted with color performance of the season and climate change。
沈宗骞还谈到人体的色彩画法：“人之颜色，由少及老随时而易，婴孩之时，肌嫩理细，色彩晶莹，当略现粉光，少施墨晕，要如花朵初放之色。盛年之际，气足血旺，骨骼隆起，当墨主内拓，色由外提，要有光华发越之象。若中年以后，气就衰而欲敛。色虽润而带苍，棱角折痕，俱属全显，当以墨植骨，色以融神，要使肥泽者浑厚而不磨棱，瘦削者清峻而不晓刻。若在老年，则皮绉血衰，折痕深嵌，气日衰而渐近苍茫，色纵腴而少憔悴，甚或垢若冻梨，或绉如枯木，当全向墨求，以合其形。屡用色渍，以呈其色。要极其斑剥而不类于尘滓，极其巉岩而自得其融和。凡此尚特言其大概耳。至于灵变之处，非可概视，如人皆以凸处色宜淡，而不知头面之上其突出处动冲风日，则其色必深。其洼处风日少到，则其色必浅。……又人皆以妇人及少年之色宜嫩白嫩红，而不知少年及妇人亦有极苍色者。中年往及老年之人亦有极嫩色者，然少而色苍，究是少年之神色，而不与老年类，老而色嫩，究是老年之气色，而不与少年同。“对人体肤色因性别、年龄、健康情况而有不同的特点说得细致深入。尤其能辩证地分析遍规律和特殊现象的联系，真是一篇精辟的色彩学的论述，值得我们去欣赏与学习。
Zong Qian also talked about the human body color painting: "People of color, from the old and less susceptible at any time, the baby, muscular young justifications small, color crystal, when the powder-like now, less Shih Mexico halo, such as flowers early Release of color。 Prime time, the blood-foot-wang, bone uplift, when the ink in the main extension, from the color of mention that the Vietnamese have our signs。 If the middle-aged, the gas on the decline in order Convergence。 Although the color Run-and with Cang, angular creases, are both full-significant, when bone graft to ink and color to melting of God, to make fertilizer-taek, who not let the grinding edge, thin-Jun, rather than deliberately。 If in old age, the skin Crepe bad blood, embedded deep creases, gas, bad and asymptotic Cangmang, color vertical Low and less haggard, or even if the scale freeze pears, such as crepe or dead wood, and when all seeking to Mexico, with its shape。 Repeated use colored stains , Was its color。 Banbo not be very kind to dust Zi, extremely Chan Yan and get its own integration。 All this is still special statement about their ears。 As for the change of Hope, a non-Almost as if people are to Convex color to the light, and I do not know Toumian on its outstanding on the fixed-wind, its color will be deep。 Their depression, the less wind to, its color will be shallow。…… And people are women and juveniles The color should welcome the Nenhong, and I do not know juveniles and women who are extremely Cang color。 Middle-aged and older persons to have a very soft colors, but less and color Cang, the study of juvenile looks, but not with the elderly Categories, old and soft colors。 This is the gas-aged, not the same with Junior。 "Colour on the human body because of gender, age, health conditions and have different characteristics put it in depth and meticulous。 In particular, to the dialectical analysis of the law and special phenomenon all over the link, is a brilliant exposition of color, it is worth us to appreciate and learning。
所谓生动就是十分的节奏，物象变化运动的节奏，现代社会已进入数码时代，韵律是高速运动的，画家的思想无法逃避现实，要把对当今的思想感情融进画中借助绘画浯言表达自己的情感-所以写意即写今时代之意，写现实生活之感；之所以称；为色彩写意，也正是当今绚丽斑斓的多彩世界需要感官刺激，绘画已走入国际化，是在继承传统基础上跟上时代潮流。正如石涛说的“笔墨当随时代”色彩的层次具有精致的特征，能在心灵甲唤起；‘辞不能表达的微妙感情，然而表像的第一层刺激并不会因人们只追求本质而消亡。
The so-called is a very lively rhythm, the rhythm of images in sports, modern society has entered the digital era, the rhythm is the high-speed movement, the painter can not be thinking of escapism, to the thoughts and feelings of today's assimilation into a painting by painting Wu statement to express their Feelings - so that the freehand brushwork write this era of Italy, wrote a sense of real life; has said; color for the freehand brushwork and gorgeous Banlan today is the need for sensory stimulation and colorful world, has entered the international painting, in carrying forward the tradition On the basis of catch up with the trend of the times。 As Shi Tao said: "When the ink with the times" with the level of exquisite color characteristics, can arouse a soul; 'speech can not express the feelings of delicate, but the table as the first layer to stimulate people and not only because of the nature and the pursuit of extinction 。
色对人的感官刺激仍时时存在，唤醒人们不要完个忽视它，并与此产生了墨对色彩世界的表现足与不足的论：光色事实的空间中的确有无法为水墨所完全复合进的自然客体；“日照香炉生紫烟”的紫是多幺细腻观察的心得。“朝辞白帝彩云间”的彩云，“千里莺啼绿映红”的富丽，“窗含西岭千秋雪”的明媚，“苍山如海残阳如血”的豪壮、其强烈的色彩视觉刺激也不能不逆反而浮现出光彩照人的影像，流露于艺术家的心底、笔间；那些超凡脱俗的文人，也要思考以色彩补水墨之不足了，尤其是花鸟画中“黄家富贤”（牡丹）、“徐熙野逸”（兰竹）各领风骚：这从文人心理上或许讲是补水豢之不足，但事实上：是平分秋色，色彩本身即具有时空的自然归赋与心知的随意流露，花开花落几乎年年如血；朝朝暮暮天天重演，高原草地则天壮地雄，锦绣江南则山清水秀，时空的自然归什重迭也白成类相，花色、云露、黄土、青草、绿水等等无不如此，这是更为丰富多彩的绘画艺术天地。所以，巧意色彩足顺应时代的发而产牛的，艺术家的任务是如何找到自己的时代语言去表达那份真挚的情感。
Color of the sensory stimulation is always there, awakening people not to ignore it End months, and this produced a color ink on the performance of the world and the lack of adequate theory: Light and Color in the fact that there is indeed a space for the ink can not be totally into the compound The natural objects; "sunshine incense burners produce purple clouds" Purple is 11 more delicate observation of the experience。 "Choi Wan in the morning surrounded by Cibie Baidicheng" Choi Wan, "Trinidad Yingti Green Yinghong" Wealthy "window of the ages of Xiling Snow" beautiful, "green mountains as spectacular as the sea, the evening as the sun Like the bright red blood, "the Haozhuang, the color of their strong visual stimulation can not but come to Guangcaizhaoren Converse and the images revealed in the hearts of artists, among T; Step beyond those of the literati, but also thought-ink color to the lack of , In particular, Flowers and Birds Painting in the story: "Huang Fu-yin" (Peony), "XU Xi Ye Yi" (Lanzhu) a leading position: This is perhaps the literati psychological stresses Water Warning is inadequate, but the fact is: the average distribution Autumn scenery, the color itself is the natural time and space to the heart that give the free show, flowers Whispering almost every year as blood; Chaozhaomumu repeat every day, while the plateau grass-to-day strong, beautiful Gangnam is a beautiful time In the even of natural overlap of the type also BAI Cheng, color, Lu Yun, loess, grass, green water, and so on all of this, it is more colorful painting art world。 Therefore, Qiao Yi comply with the full color and the middle of cattle, the artist's task is how to find their own language to express the times That sincere emotion。