黑绘画的美学诗意

——当代艺术名家刘德惠吴冰作品联展

The Aesthetic Poetics of Black Painting: A Joint Exhibition of Contemporary Masters Liu Dehui and Wu Bing

黑绘画是刘德惠吴冰艺术创作的核心。通过技法重构、符号转译、哲学对话三个维度，构建了独特的“黑绘画”体系。

黑绘画不是单纯用黑色画画，而是一种以黑色为语言、以虚空为意象的艺术方式。

黑色的特殊作用在于——所有颜色靠近它都会显得更鲜明，所有情绪落到它身上都会被放大。黑色能让亮色更跳跃，能让灰调更雅致；没有黑，其他颜色就变得轻飘。

黑绘画的美学诗意，往往藏在“看不见”的地方——不是漆黑一片的绝望，而是一种在黑暗中辨认光的能力。理解它的诗意，可以从三个层面入手：

一、在黑绘画中黑色不是颜色，而是一种“空”的哲学，留白不是空白，而是让黑更黑，让静更静。 

黑绘画常借用这种“空”的张力，让观者在沉默中“听见”回声。就像八大山人的鱼，不画水，却满纸是江湖；黑绘画不画光，却让人凝视黑暗时，忽然看见自己心里的微光。

二、黑色是时间的沉淀，不是情绪的终点 。

黑绘画的诗意，在于它不急于解释，而是让你慢慢“坐下来”，像坐在一棵大树下，听时间滴落。

三、黑色是“反观看”的温柔 。

黑绘画常常拒绝被一眼看穿，它用黑色挡住你，其实是保护你—— 

不让廉价的光污染你； 

-不让喧嚣的色打扰你； 

-让你面对黑暗时，第一次真正“看见自己”。

这种“反观看”的温柔，是黑绘画最动人的诗意：它不给你答案，它给你一个可以安放疑问的地方。

概括的说:黑绘画的美，不是“黑得漂亮”，而是黑得诚实——它不假装光明，也不贩卖绝望；它只是静静地说：“你看，黑暗里也有呼吸，也有回声，也有你。”

Black painting is the core of Liu Dehui and Wu Bing's artistic creation. Through three dimensions—technique reconstruction, symbol translation, and philosophical dialogue—they have established a unique system of “black painting.”

Black painting is not simply painting with black color, but an artistic approach that uses black as a language and void as an imagery. The special role of black lies in the fact that all colors appear more vivid when close to it, and all emotions are amplified when they fall upon it. Black can make bright colors more lively and gray tones more elegant; without black, other colors become weightless.

The aesthetic poetry of black painting often hides in the “invisible” places—it is not the despair of pitch-black darkness, but the ability to recognize light within the darkness. To understand its poetry, one can start from three aspects:

First,inblackpainting,blackisnotacolor,butaphilosophy of “emptiness.” Negative space is not mere blankness, but a way to make black even blacker and silence even more profound. Black painting often uses the tension of this “emptiness” to let the viewer “hear” echoes in the silence. Just like the fish by Bada Shanren, which does not depict water but conveys the sense of rivers and lakes; black painting does not depict light, but when one gazes into the darkness, one suddenly sees the glimmer within their own heart.

Second, black is the sedimentation of time, not the end of emotions.

The poetry of black painting lies in its patience, not in rushing to explain. It invites you to “sit down” slowly, like sitting under a big tree, listening to the passage of time.

Third, black is the gentle “anti-gazing.”

Black painting often refuses to be seen at a glance. It uses black to block you, but in fact, it is protecting you—

- from the pollution of cheap light;

- from the disturbance of noisy colors;

- allowing you to truly “see yourself” when facing the darkness for the first time.

This gentle “anti-gazing” is the most touching poetry of black painting: it does not give you answers, but provides a place to rest your doubts.

To summarize: The beauty of black painting is not about being “beautifully black,” but about being honestly black—it does not pretend to be light, nor does it sell despair; it simply says quietly: “Look, there is breath, there are echoes, and there is you in the darkness.”

刘德惠北京籍1951年出生，中国艺术研究院特约研究员，北京齐白石研究会会员，散文在线签约作家。

夫人吴冰1952年出生，大专学历，擅长新工笔画。

Liu Dehui, a native of Beijing, was born in 1951. He is a special researcher at the Chinese National Academy of Arts, a member of the Beijing Qi Baishi Research Association, and a contracted writer for Prose Online. His wife, Wu Bing, born in 1952, has a junior college degree and be good at in new fine brushwork painting.

《退后一步海阔天高》

Take a step back and you will see a broader horizon.

一个人最大的对手是自己；一个人最大的能量也是自己；摆脱困境，释放能量的钥匙就是自我和解。

将精力投入到钻研有兴趣的领域，就可以实现更深层次的自我成长和满足。

The greatest opponent one faces is oneself; likewise, the greatest source of strength also lies within oneself. The key to overcoming difficulties and unleashing potential is self-reconciliation. By devoting energy to exploring areas of interest, one can achieve deeper self-growth and fulfillment.

作品赏析：

这幅画面与前面的注解形成了深刻的共鸣。剪影中人与几何结构的融合，正是内心世界与理性思考的对话。

「∑(i=0)∞ 1/qᵢ ≤ 2n」 —— 这个公式像一则隐喻。它告诉我们，即便将无穷的片段叠加，其总和也存在一个清晰的界限。这正如我们的思绪与自我消耗：当内在的博弈永无止境，能量便趋于耗散；而唯有与自我达成和解，才能为这场无限求和划定边界，让能量聚焦于真正重要的领域。

左侧的自然景观与硬朗的线条交织，暗示理性与感性的共存——唯有接纳这种矛盾，才能释放被困境束缚的能量。

最大的对手和能量皆源于自身。当我们停止自我对抗、转而向内整合，就像画中之人居于结构之上却保持沉思，便能找到释放能量的钥匙。将精力投入热爱之事，不是逃避，而是向着更深层的自我实现迈进——那是一种超越束缚的、真正的自由。

Appreciation of the Work:

This image resonates deeply with the annotations provided earlier. The fusion of the silhouette with geometric structures represents a dialogue between the inner world and rational thinking.

「∑(i=0)∞ 1/qᵢ ≤ 2n」 —— This formula is like a metaphor. It tells us that even when infinite fragments are superimposed, their sum has a clear boundary. This is similar to our thoughts and self - consumption: when the internal struggle is endless, energy tends to dissipate. Only by reconciling with ourselves can we set a boundary for this infinite summation and focus energy on what truly matters.

The natural landscape on the left interweaves with the rigid lines, hinting at the coexistence of rationality and sensibility — only by embracing this contradiction can the energy bound by difficulties be released.

The greatest opponent and source of energy both come from within ourselves. When we stop fighting against ourselves and instead integrate inwardly, like the person in the painting who sits on the structure yet remains in contemplation, we can find the key to releasing energy. Devoting energy to what we love is not an escape, but a step towards deeper self - realization — it is a true freedom that transcends constraints.

《跳动的音符》

The voice of emotion

音乐是心灵的独白。每一个音符都替我说出无法言喻的情感，在下一拍到来之前，我把它悄悄的收回，留待黄昏再听一遍。

The Voice of Emotion Music is the soliloquy of the soul. Each note speaks the inexpressible emotions for me. Before the next beat arrives, I quietly take it back, to listen to it again at dusk.

作品赏析：

这幅作品并非单纯描绘音乐，而是以视觉符号重构听觉体验：观者能从线条的颤动中“听”到旋律的流淌，从色块的碰撞中“见”到节奏的顿挫。它超越了具象再现，直抵艺术通感的本质——正如康定斯基所言：“色彩是琴键，眼睛是琴锤，灵魂是钢琴的琴弦。”

一、构图与象征的巧妙融合

琴键的块面组合，既模拟钢琴键盘的物理形态，又通过错落的排序暗示音阶的起伏。左侧以极简的白色与橙色线条勾勒出人物沉浸于音乐的优雅姿态；右侧的几何琴键通过黑白相间的强烈对比，形成二者视觉上的动态平衡，如同音乐中旋律与节奏的相互呼应。

二、色彩的情绪隐喻

黑色背景不仅强化了前景元素的跳跃感，更隐喻音乐创作中的沉默与停顿，恰似乐句间的呼吸间隙；橙色线条赋予人物以温暖的生命力，象征演奏中倾注的情感热度；琴键的理性排列，暗示音乐固有的结构性与秩序感。这种冷暖色彩的碰撞，恰如音乐中感性抒发与理性控制的共生。

Art Appreciation:

This piece does not simply depict music, but rather reconstructs the auditory experience through visual symbols: the viewer can “hear” the flow of melody from the trembling of the lines and “see” the rhythm’s cadence from the collision of color blocks. It transcends concrete representation and reaches the essence of artistic synesthesia—as Kandinsky said, “Color is the keyboard, the eyes are the hammers, and the soul is the piano’s strings.”

I. The Skillful Integration of Composition and Symbolism

On the left, the elegant posture of a person immersed in music is outlined with minimalist white and orange lines; on the right, the geometric piano keys, composed of alternating black and white blocks, not only simulate the physical form of a piano keyboard but also suggest the rise and fall of musical scales through their staggered arrangement. The two elements form a dynamic visual balance against the strong contrast of the black background, much like the interplay of melody and rhythm in music.

II. The Emotional Metaphor of Color

The black background not only enhances the sense of movement in the foreground elements but also metaphorically represents the silence and pauses in musical creation, akin to the breaths between musical phrases. The orange lines endow the figure with a warm vitality, symbolizing the emotional intensity poured into the performance. The rational arrangement of the piano keys implies the inherent structure and order of music. This interplay of warm and cool colors mirrors the coexistence of emotional expression and rational control in music.

《水乡之夜》

A Night in the Water Town

水乡夜景宛如一幅画卷。一条河，一座小桥，还有坐落在水中的水阁，仿佛是人间仙境，让人陶醉其中。

The night view of the water town is like a painting. A river, a small bridge, and the waterside pavilions seem like a fairyland on earth, intoxicating all who behold it.

《车辙里的岁月》

The Years in the Ruts

60多年前，为了方便上学妈妈花了168元（当时一般职工月收入只有40元左右）给我买了一辆凤凰牌自行车。这份情深深的种在我心里。画面中斑驳墙边的老凤凰自行车，承载着双重记忆——既是画中静默的时代符号，更是年少时那条上学路上滚动的母爱。

一个甲子过去了，心灵上的印记愈加深沉。

Over sixty years ago, to make my schooling easier, my mother spent 168 yuan—when an ordinary worker’s monthly pay was about 40 yuan—on a Phoenix bicycle. That love took deep root in my heart. The old Phoenix shown against the mottled wall carries two memories: a silent icon of its era and the rolling maternal love that accompanied me along the road to school. Six decades on, the imprint on my soul has only grown deeper.

《往事如昔》

“Memories of the Past”

当我轻轻地离开了你，我会怀念遥远的你。当春风吹干了泪滴，青春无悔往事如昔。

When I gently depart from you, I will miss you from afar. When the spring breeze dries the teardrops, youth is without regrets and memories remain as they were.

《北大夜景》

"Night View of Peking University"

博雅塔下镌刻着晨昏与书香；未名湖畔映照着前路与星光。

Beneath the Boya Tower, dawn and dusk intertwine with the scent of books; by the shores of Weiming Lake, future paths shimmer in the starlight.

《晨舞》

Morning Dance

清晨时分白鹭在水边展翅的灵动场景，可视为“晨舞”的艺术化呈现——以水墨的留白与简练，勾勒出自然生灵在晨光中舒展生命的诗意画面。

In the frame, a white heron in the foreground has its wings fully spread and its neck upright, as if stretching its limbs. Another heron stands tall with its head slightly raised, exuding a graceful and elegant posture. The combination of movement and stillness between the two creates a rhythmic sense akin to dance. The background’s black forms a stark contrast with the white herons, while the shimmering water is dotted with light-colored lines, evoking a tranquil aquatic atmosphere. This lively scene of herons either spreading their wings or standing still by the water at dawn can be seen as an artistic rendition of a “morning dance”—using the simplicity and negative space of ink wash painting to outline a poetic image of nature’s creatures stretching their lives in the morning light.

《绿车皮》

Green car body

绿皮车的旅程，是一场与时间对话的修行。

The journey on the green-skin train is a spiritual practice of conversing with time.

《蜗居》

A cramped living space

窗外高楼林立，屋内放一张大床空间就所剩无几。这种蜗居的生活的确是一种生活困境，憧憬之外需要勇气去面对现实。

Tall buildings stand densely outside the window, and placing a large bed inside leaves little space. This kind of cramped living is indeed a predicament. Beyond longing, it takes courage to face reality.

《非遗镂空雕刻云肩》

Intangible Cultural Heritage Openwork Carving Cloud Shoulder

《非遗镂空雕刻云鼎》

The Intangible Cultural Heritage of Lattice Carving Yun Ding

《非遗脸谱》

Intangible Cultural Heritage Facial Masks

《飘香》

Fragrant

瓶内清水线（若隐若现）与瓶外枝条形成「被盛装的真实」与「自由伸展的灵魂」之对话。

The faintly visible water line inside the bottle engages in a dialogue with the branches outside, representing a conversation between “the contained reality” and “the freely expanding soul.”

《惜别》

Reluctant parting

这幅画用视觉元素谱写了一首关于离别前夕的无声交响曲。那条被白桦树夹峙的小路是时光的通道，窗框则凝固了这个永恒的瞬息，而路中央踟蹰的小狗，正是每个人心底最柔软的不舍与勇气交织的印记。

This painting composes a silent symphony about the eve of parting with visual elements. The path flanked by birch trees is a passage of time, while the window frame captures this eternal moment. The hesitant dog in the middle of the path is the mark of the intertwining of everyone’s softest reluctance and courage deep in their hearts.

《老街新貌》

The Old Street with a New Look

这幅画以极简的视觉语言，勾勒出传统与现代交融的温婉意境。一盏橙灯如旧日灯笼低垂，却映着透明新光。老街不曾褪去韵味，只是悄然添了新茶香。

This painting, with its minimalist visual language, outlines a gentle artistic conception where tradition and modernity blend. An orange lamp hangs low like an old-day lantern, yet emits a transparent new radiance. The old street has not faded its charm; it has only quietly embraced the fresh scent of tea.

《告别》

Farewell

真正的告别不是“结束”，而是把同行时的光，转化成继续前行的灯。您愿意让那一段回忆成为今晚的灯吗？

A true farewell is not an “end,” but the transformation of the light shared in companionship into a lamp that continues to guide the journey ahead. Would you like to let a particular memory be the lamp for tonight?

刘德惠吴冰黑绘画的方法论：

一、把“黑”从颜料变成了信息载体，把风格变成了方法，升级为“可复制系统”，从而让水墨在全球当代艺术语境里，第一次拥有了“数字-社会-体系”三维共振的当代性。

二、在保留宣纸、毛笔、水性颜料的传统媒材基础上，引入数字美学的分层逻辑、把传统的皴擦、渲染等，重新编码为“像素级黑”“梯度黑”“透底黑”三类可操作单元，再组合出可重复的语法系统。

三、通过三步“转译”把现代元素“写”进水墨：

1. 题材转译——让城市符号成为笔墨主角

他把高铁、无人机、光伏发电、共享单车等当代物件，直接植入《绿色出行》《水乡之夜》等黑绘作品。这些符号不再只是“背景”，而是与留白、飞白一起构成新的叙事主线：黑夜里的霓虹投在河面的碎光，都成了可被墨韵推敲的“城市皴法”。

2. 语言转译——用非欧几何重写空间

在《告别》中，他借用“三角形内角和≠180°”的非欧几何概念，把路面、楼影切成带曲率的网格；传统“三远法”被替换成一种数字时代的透视逻辑。画面既保持宣纸的柔软气息，又呈现 GPS 地图般的冷峻精准，让水墨第一次拥有了“算法感”。

3. 质感转译——把漫射光、屏幕反光做成“墨光”

传统水墨讲“墨分五色”，他则把 LED 光晕、手机屏反光、玻璃幕墙的漫射光抽象为不同灰阶的“墨阶”。通过厚积、破墨、水撞等手法，在黑白两极之间拉出多层数码灰，使观者恍惚间分不清是夜色还是液晶屏的背光。

一句话总结：刘德惠把“高铁、几何、LED 光”这些现代元素，先拆解成可感知的黑白灰，再重新组装成一套新的水墨语法——既让城市经验在宣纸上落地生根，也让传统笔墨在数字时代继续说话。

Liu Dehui and Wu Bing’s Methodology of Black and White Drawing:

First, they transformed “black” from a pigment into an information carrier, and style into a method, upgrading it into a “replicable system.” In this way, for the first time, ink painting in the global contemporary art context has gained a contemporary nature of three-dimensional resonance of “digital-social-system.”

Second, while retaining traditional media such as rice paper, brushes, and water-based pigments, the artist introduces the layered logic of digital aesthetics. He re-encodes traditional techniques like texturing and shading into three operable units: “pixel-level black,” “gradient black,” and “translucent black,” and then combines them into a repeatable syntactic system.

III. Through a three-step “transcoding” process, modern elements are “written” into ink wash painting:

1. Thematic Transcoding—Making Urban Symbols the Main Characters of Brush and Ink

 He directly incorporates contemporary objects such as high-speed trains, drones, photovoltaic power generation, and shared bicycles into his black-and-white paintings like “Green Travel”and “A Night in the Water Town” These symbols are no longer just “backgrounds” but, together with negative space and flying white, form a new narrative mainline: the fragmented light of neon signs on the river surface at night becomes a “city texturing method” that can be scrutinized through the charm of ink.

2. Linguistic Transcoding—Rewriting Space with Non-Euclidean Geometry

 In “Green Travel,” he employs the non-Euclidean geometric concept that “the sum of the interior angles of a triangle is not equal to 180°” to cut the road surface and building shadows into curved grids. The traditional “three distances” method is replaced by a digital-era perspective logic. The painting maintains the softness of rice paper while presenting the cold precision of a GPS map, giving ink wash painting its first “algorithmic feel.”

3. Textural Transcoding—Turning Diffused Light and Screen Reflections into “Ink Light”

 While traditional ink wash speaks of “five colors of ink,” he abstracts the LED halo, smartphone screen reflections, and diffused light from glass facades into different shades of “ink gradation.” Using techniques like thick accumulation, breaking ink, and water collision, he creates multiple layers of digital gray between black and white, making viewers momentarily uncertain whether they are seeing night colors or the backlight of an LCD screen.

In summary, Liu Dehui disassembles modern elements such as “high-speed trains, geometry, and LED light” into perceptible black, white, and gray, and then reassembles them into a new ink wash syntax. This not only allows urban experiences to take root on rice paper but also enables traditional brush and ink to continue speaking in the digital age.