中国山水画中的精髓是什么,说白了就是画家运用手中笔墨来表现画家心中对大好河山纸上再现。中国山水画是以笔墨为主要的绘画语言。何为“笔墨”笔墨就是指对笔对墨的用法,古人画家积墨法较为成就的当属龚贤了,积墨顾名思义多层积累层层渲染层积而厚厚而不死。积墨过程先淡后浓,或先浓后淡均可。积墨过程步骤一定要清楚合理,否则空间感就会杂乱无序不堪收拾。无论是中国山水画还是西方风景油画都是有对比的存在,一张完整山水画在创作过程中从开始到结束都是围绕着黑与白对比(既是西方的明与暗),黑白他们相互呼应相互融合。怎么样才能将这种对比沉稳的存在,作画者需要一种什么样的技法以及对画面的构成怎么经营,这就是本文我要说明的。历朝的画家都对黑白的运用按照章法又能大胆的抛弃章法自我创新,比如龚半千独有的对笔墨黑白专属的表现技法,黑白空间进行阐述通过黑白空间的塑造,揭示画家的审美情感和审美情趣。就是这种情感和情趣是最值得我们当代国画研究学者值得深思的。 What is the essence of Chinese landscape painting, to put it plainly is the artist’s use of ink in his hand to express the painter’s heart on the magnificent He Shan paper reproduction. Chinese landscape painting is based on ink and brush as the main language of painting. What is “ink” refers to the use of ink on the pen usage, the ancient painter plot method is the success of Gong Yin, plot ink as the name suggests, the accumulation of layers of layers of accumulation and thick but not dead. Accumulation of ink after the first light thick, or concentrated after the light can be. Accumulation of ink process steps must be clear and reasonable, otherwise the sense of space will be messy disorderly packed. Both Chinese landscape painting and western landscape oil painting are in contrast. A complete landscape painting from the beginning to the end surrounds the contrast between black and white (both the light and darkness of the West), and they all interact with each other in black and white . How can we be able to calm the existence of such contrasts, what kind of technique a painter needs, and how to manage the composition of the screen. This is what I will explain in this article. The painters of the dynasties used black and white daringly to abandon the chapter self-innovation boldly according to the rules and regulations. For example, Gong semi-unique black and white exclusive expression technique and black-and-white space are elaborated to reveal the artist’s aesthetic feelings Aesthetic taste. It is this feeling and taste that is most worthy of our contemporary Chinese painting scholars worth pondering.