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有人曾说过一句发人深省的话:“中国画的用墨很富于哲学意味”,因为以墨色为主的中国画色彩的虚而有实,存在于其有、无的独特形态之间,并因此,将其推进到形而上的层面。中国的绘画,以墨白暗喻“有无”,以“有无”契合宇宙大化流行,所以,自然界色彩斑斓的花卉,竟被单纯地简约为气韵生动的生命图象,高山流水的葱郁叠翠竟在墨白中演绎出万千气象,这正是中国文化的形而上特征,是中国绘画墨白体系的形而上符号显现。其中,黑为“有”,白为“无”,在中国画范畴中黑白因其形而上的属性,“有”包含着“无”,“无”也包含着“有”,所谓“计白当黑”、“黑则深邃无边”是也。这样,
A thought-provoking remark has been made: “Chinese ink is rich in philosophical meaning,” because the color of the Chinese ink-based painting is both real and imaginary and exists between its unique and unique forms. Therefore, Its advance to the metaphysical level. Chinese painting, Metamorphosis metaphorical “with or without” fit “with” Universiade popular, so the colorful natural flowers, was simply simply the vivid life and vivid images of life, the lush flowering alpine evergreen It is the metaphysical feature of Chinese culture and the metaphysical symbolic manifestation of the ink painting system of Chinese painting. Among them, the black is “yes” and the white is “no”. Due to its metaphysical properties in the category of Chinese painting, “yes” contains “no”, “no” also contains “yes”, and “ ”,“ Black is endless ”is also. such,