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随着中西文化的交流与交融,属西画体系的水彩艺术逐渐本土化。受中国传统艺术的影响,水彩艺术中留白的涵义得到广延,它不仅指在水彩程序中后面画的部分的留白,如风景画写生先远后近、由上至下,后画部分往往留白;再如先用留白液遮挡,等先画部分干后擦去胶质再画。它更指水彩最后效果中,留有空白不画,其中空白不仅是色彩构成的要素(任何画面中都需要黑白灰层次,留白无异于守住了较亮的一个层次),也同中国画中的“布白”如出一辙,更具有空、虚的涵义。遵循条件色理论,物体表面的色彩受物体固有色、光源色、环境色的共同制约,“白”的固有色或多或少会被光源色和环境色影响而有所倾向;另外,从视觉生理学上来讲,人的视觉适应度也需要色彩的互补关系来平衡,当“白”的物体旁有色彩时,这种
With the exchange and blending of Chinese and Western cultures, watercolor art, which belongs to the Western Painting System, is gradually localized. Affected by the traditional Chinese arts, the concept of whiteness in watercolor art has been extended. It not only refers to the part of the painting behind the watercolor program, such as landscape paintings, Often blank; Another example is the use of white liquid first block, wait until the first part of the painting to wipe the gum and then draw. It also refers to the final effect of watercolors, leaving no space is not painted, blank space is not only the color of the elements (black and white gray level are required in any picture, white is tantamount to hold a brighter layer), also with Chinese painting “Cloth white ” exactly the same, more empty, virtual meaning. Following the theory of conditional color, the color of the surface of the object is controlled by the inherent color of the object, the color of the light source and the color of the environment. The inherent color of “white” tends to be more or less influenced by the color of the light source and the environment. In addition, From a visual physiology point of view, human visual adaptability also need the complementary relationship of color to balance, when the “white” object next to the color, this