在西方艺术批评界,单色画(monochromatic painting)的概念并不陌生,但是在目前国内的批评语境中尚未引起足够关注。按照视觉形态,阿瑟·丹托《单色画历史博物馆》一文将单色画界定为“不仅仅是单一的色彩,而且是色彩均匀的画面”。具体地说,应指由艺术家创作的无具体形象、无透视空间、平涂或近乎平涂的、纯粹单色的绘画。单色画具有视觉上的极致性和美学上的特殊性,其创作也不是个别艺术家的偶尔为之,自1915年以来一直持续地出现在西方绘画界。在近百年历史中,单色 In Western art criticism, the notion of monochromatic painting is not new to itself, but has not received enough attention in the current domestic context of criticism. In visual form, Arthur Danto’s Monochrome Painting History Museum defines monochrome painting as “more than just a single color, but a uniform color.” Specifically, it should refer to the artist’s no-specific image, no perspective, plain or almost flat, purely monochrome painting. Monochrome paintings are visually and aesthetically distinctive. Their creations are not infrequent by individual artists and have persistently appeared in the Western painting circles since 1915. In nearly a hundred years of history, monochrome