唐代张彦远说:“运墨而五色具”。墨在中国画中是被作为“色”来看待的,所以墨与色相联被称为“墨色”。张仃先生的山水画用焦墨代替了五色,打破了传统山水画中用染来渲染画面的效果。从用墨的方法上来讲,干与湿是用墨时水分多少的对比所呈现出的不同效果,浓与淡是墨色阶梯层次上的对比,它们在画面中是对立统一的。在平时的作画中,焦墨就是把研成的墨汁在砚台里经过半日的挥发,再用来表现画面中深重而又突出的部分。它是整幅作品中最黝黑的部分,黑而有光亮。掌握不好则容易使画面干燥,充满“火”气,使用恰当充分则容易见其画面精神。 Tang Yan-Tang said: “Movement of the ink and colored with”. Ink is seen as a “color” in Chinese painting, so ink is associated with color as “ink”. Mr. Zhang Ding’s landscape painting replaced the five colors with coke ink, breaking the traditional landscape painting used to render the effect of the screen. From the method of using ink, dry and wet are the different effects of moisture when ink is used. Concentration and light are the contrast on the ink color level. They are opposites in the picture. In normal painting, coke ink is to research into the ink in the ink after half a day of volatility, and then used to display the image of the deep and prominent part. It is the darkest part of the work, black and bright. Mastery is easy to make the picture dry, full of “fire” gas, the use of adequate and appropriate is easy to see the spirit of the screen.