四、     中国画色彩的魅力

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。

[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。

Four, the charm of Chinese painting color

Always pay attention the use of painting in ancient China to color, the study of color history painting reached a high level, the ancient painters have long summed up the season and climate changes caused by different color images, and hot and cold on the use of color.

[Tang] Wang Wei in "landscape theory" in Chinese painting performance says: "When it rains Is not divided into heaven and earth, Do not know East or west,...... The rain stopped Collection The blue sky, A thin Very slight, mountain scenery Green Moist, Evening sun Low skew rays Cloud (Show). Morning scenery then Thousand mountains Sleepy, Little fog, The hazy moon, Heavenly dark obscure is. Evening scenery then On hill Embedded the The Crimson Sunset, Sail volume River water Title The is in,...... Spring scenery then Dense Smoke cage, Long smoke white Is, Water as blue, Gradually the green mountains is, fog. The summer scenery is trees With foliage Blot the sky cover the sun and, Green water No wave Ancient out then luxuriant....... Autumn senery then The Such as color water, Clusters of woods sky is,...... Winter scene then borrow a of land snow expanse of whiteness, Wood cutter Shoulder Vast, The fishing boat against the shore piece, Shallow water Sand flat leaning, For was Fuelwood." This shows that China's landscape painters on climate, Day and night, seasonal changes in color have a more detailed and in-depth analysis, and applied to painting.

[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 in "Lin Quan Gao Zhi" pointed out: "color: green spring, summer autumn and winter green, black green. The spring and summer autumn winter net, dark green." Guo Xi is China ancient painters, painting is an outstanding theorist, he summed up the general water color of weather and seasonal changes. [Qing Dynasty] Tang Dai said in "In the painting": "mountain There are four seasons (spring, summer, autumn and winter Color Wind and rain Dark), and bright, change Not a, Non coloring As to its appearance. So-called Spring mountain Pretty and coquettish Like a girl's smile, The summer mountain green drops, Akiyama Bright, As clean as light, Winter Hill Gloomy And like sleep, this Four seasons appearance." [clear] Shen Zongqian in "Mustard boat painting series Vividly and concretely" in the four seasons of color landscape painting: "Spring scenery to its bright Any grass, slope Treetop, Must Extremely fresh Beautiful, And other places Particularly bleak therefore Highlight it. A spring, Must not many use tender Green color. -...... The summer scenery Want make it A wild profusion of vegetation, the top stone top surface shall be green with green, green and green.... The autumn to clear, Sparse woods Withered grass, White cloud Old trees New reed,...... Winter landscape its bleak, all scenery, Only pine, cypress, bamboo the old tree, available old green, I only leave ochre dull and black. And." Describe the characteristics of the four seasons color, indicating that Chinese painting must also use color to reflect the seasonal and climatic changes.

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。（“人的容颜，由少到老随着时间的变化而改变，婴孩之时，肌肤嫩、纹理细，色彩晶莹，应当略现粉光，少用墨晕染，要如花朵初放时候的色彩。盛年的时候，气血旺足，骨骼生长完好，应当以墨线为主，墨线在内，色彩在外，形成对比；要有青春焕发的容貌。到了中年以后，气血就衰减内敛了。容貌虽然润泽，但是已经带有苍白，皮肤松弛，皱纹慢慢显现出来，用墨线作为“骨头”，色彩融会后使得神采出现，要使肥胖的人浑厚而不象是“磨了棱角”的，清瘦的人清峻而不是象“刀削”一样刻板。如果是老年，则皮肤绉纹多，气血衰弱，绉折痕深嵌，气血日渐衰减靠近苍茫，容貌即使是丰满，并且很少憔悴（操心），即便是这样，他也象垃圾或者被冷冻后的梨子，或者皱纹象枯木一样，画的时候应当全部用墨，这样来符合他的形状。多次用混合色，来呈现他的颜色。要全面反映他斑剥的效果而不能像垃圾，就像陡峭、险峻的山峰，虽然高大险峻，然而，非常和谐不会倾倒。凡是这类特殊的，大都如此处理。至于变化之处，不可等同视之，如同人都是以凸处的色彩最好淡一些，而不知头面之上，他突出的地方是被太阳晒、风雨吹打的地方，所以他的颜色必然深。他的低洼处，被太阳晒、风雨吹打的时候少，所以他的颜色必然浅。……又说，人都是以女人和少年的皮肤颜色，最好是表现为嫩白嫩红，而不知少年和女人也有非常苍白颜色的人。中年向老年转变的人，也有非常嫩皮肤色的人，然而这样的人少，而皮肤色显得苍白，究竟是少年的精神与颜色，而不与老年相同，老而皮肤嫩，终究是老年的气色，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。

Shen Zongqian also talked about the human body color painting: "people of color, from youth to old age, with the passage of time and changing; the baby, Tender skin texture Exquisite, Crystal color, Less application Ink when Light powder, Light color Fuzzy part Fresh flowers, like the color. People in prime time, Qi of energy adequate Blood flourishing, Bony eminence, when the Ink extension interior, the color from the outside, to have One's face with health Many hair like glowing. If after middle age, Qi middle-jiao energy the decline in order of On convergence. Although the color of the run with pale, Sharp creases, Are all Full display, When to ink Do bone, colourIn order to integrate into God, In order to make Obese people Plump Without Chamfering, Ema Ciated man Lean rather not No meat but. If in old age Is the, skin crepe, Weakness of blood vessels Skin embedded, deep creases, Qi of middle-jiao decline and asymptotic Cangmang, Skin color vertical low and less haggard, Even the skin looks dirty Just like, Frozen pear, Such as dead wood or crepe, Such performance When the omni-directional ink, Use it to represent shape. Always use block surface, To show its Color color. Must extremely Intricate appearance In class Dust color Without sediment. Extremely steep and get its own cliffs integration. Such a similar situation, probably all the way to deal with. As for the flexible place can not, be generalized, as people are in a prominent place, applying color to the light, and I do not know th E head above protrusion, exposed to weather in place, its color be deep. The low-lying, less exposed the weather, its color will be shallow. to, the will...... Also said that people are women and young children's skin color, it is best to show tender tender and white red, but I do not know the young and women have very pale color. The middle-aged to elderly people change, also has a very delicate skin color, but this is less, and the skin color pale, what is the spirit and the color of the teenager, but not with the same old, old skin tender, it is the old color, but not with the same boy. Shen Zongqian "on the human skin color due to gender, age, health, and the characteristics of different characteristics in detail. In particular, dialectical analysis of the relationship between the law and the special phenomenon, is a brilliant color of the discourse, it is worth us to appreciate and learn.

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。

what is called  a  vivid:  is very vivid rhythm, the Things change of images in sports, modern society has entered the digital era, the rhythm is the high-speed movement, the painter's thoughts cannot escape from reality, to today's thoughts and feelings into the words to express their feelings - so that the freehand brushwork write this era meaning by painting Wu, write a sense of real life; the reason for that; it is also the color of freehand brushwork, magnificent and gorgeous and colorful world needs sensory stimulation, painting has entered the international, is on the basis of inheriting the tradition to keep up with the trend of the times. As Shi Tao said: "when the ink with the times" with the level of exquisite color features in Spiritual calling; "speech can not express the subtle feelings, but the first layer of shape will not stimulated Surface, because People Only pursue essence and die out.

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”的紫是多么细腻观察的心得。“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“黄家富贵 、徐熙野逸”（ 在中国花鸟画的发展历史中，素来有“黄家富贵，徐熙野逸”的说法。 “黄家”指的是五代西蜀至北宋初的画家黄筌和他的两个儿子，他们先后供奉宫廷，擅长画珍禽异兽，风格富贵华丽；后者指的是徐熙，他也是五代南唐至北宋初人，所画大多为野生花卉及常见之禽鸟，画风野逸素雅。）兰竹的表现很有特点。各领风骚：这从文人心理上或许讲是补水墨之不足，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，时空的自然归赋重迭也白成类相，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生的，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。

The color of the sensory stimulation is always there, awakening people don't ignore it end months, and produces a color ink on the performance of the world and the lack of adequate theory with this: light and color in the fact that there is indeed a space for the ink can not be fully into the compound the natural objects; "Sunshine censer living purple smoke" purple is how delicate observation of the experience. "Leave the white Emperor city in the morning when bright clouds surrounded" "Thousands of miles south cloud, of the, Yangtze River, The peach trees were in bloom and the willows were turning green" "From the window to rich, see Xiling the snow" Deep green hills ", bright, endless like the sea; Sunset, the setting sun like blood", the heroic intense color visual stimulation also have to inversion arises out of a glamorous image, the artist's pen in his heart; those otherworldly literati, but also think about ink color to the lack, especially the flower and bird painting "Huang family riches and honourXu Xi Relax and elegant" (Chinese; in the history of the development of Chinese flower and bird painting, has always been a "Huang family riches and honour, Xu Xi Relax and Elegant; "". "Surname Huang family" refers to the Five Dynasties to the early Northern Song Dynasty painter Huang Quan and his two sons, they have palace be an official, Good at painting rare fowls and strange animals, rich and gorgeous style; the latter refers to Xu Xi, he is the five generation to the early Northern Song Dynasty, the paintings are mostly Wild flowers and Common birds) and wild style, simple and elegant. Orchid and bamboo performance is very characteristic. Each The leading position: This is perhaps the literati psychological stresses is the Creation of painting Chinese, but the fact is: Go halves on a fifty-fifty basis, the color itself is the natural time and space to give intelligence the free show, flowers bloom almost years like blood; every morning and evening every day to repeat, grassland The strong male, Jinxiu Jiangnan is picturesque scenery, the natural time and space to assign overlap or white into color, cloud phase, dew, loess, grass, water and so on are all true, it is more rich and colorful painting art. Therefore, the meaning of the color is full of the times, the artist's task is to find their own language to express the true feelings.

待续

To be continued