摘要：一段时间以来，笔者撰写《中国焦墨画史初探》一书，受到国内朋友们越来越多的关注，他们或留言或私下里提出一些宝贵意见。最近笔者整理了一些关于如何辨析焦墨画的依据以及与焦墨画密切相关的五徳、五行、五色问题，包括笔墨受体问题，供焦墨绘画爱好者阅读与理解，方便共同探讨中
一段时间以来，笔者撰写《中国焦墨画史初探》一书，受到国内朋友们越来越多的关注，他们或留言或私下里提出一些宝贵意见。最近笔者整理了一些关于如何辨析焦墨画的依据以及与焦墨画密切相关的五徳、五行、五色问题，包括笔墨受体问题，供焦墨绘画爱好者阅读与理解，方便共同探讨中国焦墨画史上一些难点问题。
辨析古代焦墨画，不单是墨色、皴法、线条、笔墨等技法问题，而撰写一部《中国焦墨画史初探》更需要掌握中国古代社会博大精深的传统文化以及不同历史时期笔墨受体的质量。
丹青居士在撰写《中国焦墨画史初探》之时，最困扰的就是凭什么辨析某些古代画就是焦墨画?凭什么辨析某些画就是枯笔渴墨造型?凭什么辨析古代纯黑就是焦墨?
几乎所有媒体和绝大多数历史学者都认为仰韶彩陶纹样就是焦墨画，但是没有任何人论证其为什么是焦墨画。黄宾虹先生有“北宋多用焦墨”之说，但没有人论证黄宾虹“北宋多用焦墨”根据是什么？反正大家都这么说，就这么认定了。推敲下来，7000多年以来的中国焦墨画遗留着太多的问题。需要论证辨析。
丹青居士希望成为研究焦墨画史抛砖引玉那个人，倘若引来焦墨画坛学者贤达参与讨论，提出宝贵意见，丹青居士觉得也是我们这些人，为祖国的绘画事业做了点什么，而不负笔墨华年。
唐代张彦远《历代名画记》中有“运墨而五色具”之说，后人总结为焦、浓、重、淡、清五色。焦墨是半干的墨汁，乌黑有光泽，是色度最深的墨；浓墨是深黑墨汁，加水后无光泽；重墨是含水量多于浓墨，色相较浅；淡墨是水分更多，色相更浅；清墨是极淡墨迹，近乎水色。如果将“半干的墨汁”与《中国画技法述要·墨法》中“用干笔蘸浓墨，传统叫焦墨”进行对照，比较一致的地方都有“干”的特点，说明焦墨应该是干一点的浓墨。在墨分五色中，也将焦墨称为“原墨”。原墨本身是中国古代色彩中最纯正的五种色彩之一“纯黑”。
从中国传统文化中的五色观来看，按五方说法占据五个方位的五色为正色，是中国古代色彩体系中最基础、最纯正的五种颜色，即纯青、纯赤、纯黄、纯白、纯黑。古人认为这些颜色象征天地五行（木、火、土、金、水）和方位（东、南、中、西、北），这五种正色各自独立，代表着天地间最为基本的色彩。具有神圣性和权威性。这五种最纯正的色彩，被先贤们视为最尊贵之色，常用于祭祀、礼服等正式场合。孔子曾用“恶紫夺朱”批判贱色侵犯正色。纯黑是最纯正的五种色彩之一，它具有独立于其它色彩之外的个性，是最尊贵的五彩之一。它在夏、商、秦时期和西汉200年中前100年始终处于国色或类国色的地位。与正色相对应的是间色，也称贱色。间色由两种或几种正色混合而成的次级颜色，包括绀（红青）、红（浅红）、缥（淡青）、紫、流黄（褐黄）、淡墨等。间色被视为“杂色”“卑贱之色”。在古代社会中，正色与间色不仅代表着色彩的差异，更是明贵贱、辨等级的重要标志。
按照中国古代传统文化关于五徳的说法，纯黑色即是正色之一，也是五徳之一。《史记》所载“秦文公获黑龙，得水德之瑞”便是说大秦国之德是水德。水德是什么，上善若水，水利万物，水滴石穿。《道德经》说水“天下莫柔弱于水，而攻强者莫之能胜，其无以易之”，天下没有比水更柔弱的东西了，它具有穿透坚硬的岩石的力量。纯黑色代表一种道德能量。
显然在两汉之前的历史时期，以水破墨等于破相，破了焦墨的正色地位的相，破了国家的尊严与风水，犯了五色观、五徳说的忌讳。以干笔蘸浓墨勾线敷彩获得乌黑而有光泽的画法与以湿笔破浓墨勾线敷彩使图画完全失去乌黑光泽的画法，显然有着明显的区别。应该说依照国德国色之说，画工们绘画时是应该选择焦墨法的。
从水墨的历史来看，按照中国画史记载以及画史名家对水墨历史的判断，在没有适合水墨画法的笔墨受体之前，任何对水墨画的判断，都不切实际。实际上绘画发展史证明唐代王维首创"破墨"技法，毕竟是唐代以后的事。如果说焦墨是以干笔蘸浓墨，王维的水墨则是以湿笔破浓墨，这是破墨与焦墨最显著的区别。王维墨分五色，让以水破墨的技法首次出现在中国画史上，从而证明墨分五色是唐代以后的事，反证了在唐以前的墨法中焦墨法属于唯我独尊的地位。在这种情况下，将六朝之前的墨法执著的“墨分五色”则属于不尊重历史事实。
唐以后佛教传入，打破历代王朝的五色观、国德论的礼法机制。从那时起国德和国色发生变化。这一点从唐代的官员服饰以及壁画的敷色上，说明自唐时起源于伏羲时期以来约6000余年的五色观、五德论不再是中国国色和国德的唯一。
综合考虑，辨析六朝之前考古遗存的绘画作品，是不是焦墨画，从理论到实践的依据大体上分为五个方面。第一，六朝之前某个时期，君王确定的国德是什么？第二，六朝之前某个时期君王确定国色是什么？这两问是当时社会治理体系最重要的前提，违背这个前提是违背君王的意志，违背国家意志。国德是这个时期国家绘画艺术的灵魂。比如纯黑色的焦墨色，代表水德。水德是什么，上善若水，水利万物，水滴石穿。《道德经》说水“天下莫柔弱于水，而攻强者莫之能胜，其无以易之”，天下没有比水更柔弱的东西了，然而穿透坚硬的岩石的力量，没有能比得过它的。国色是国德外在的表现形式，国德的色彩是黑色的，如同水特点一样，从来不突出自己，不表现自己，它朴实无华，它大美无言，但是黑色又具有神秘的力量，这就是焦墨画自身所具有的内涵与境界。第三，古代人利用贵色进行人神沟通，是把正色作为一种灵魂升天的媒介。两汉时期大量绘画敷色用赤色、黑色。尤其是墓室壁画、帛画、漆画敷色选择以赤色、黑色作画，不仅是他们活着的时候以其作为一种贵族身份的象征，也幻想死去之后借着赤、黑赋予他们的尊贵社会地位，让灵魂飞升。可见赤、黑在古代社会中处于一种崇高的地位。
文革时期出土的辛追非衣帛画以赤为主，用黑色线条勾勒，在上方画黑鸟。汉代人相信赤色、黑色能够助主人与神灵沟通，飞升天界。第四，《历代名画记》直接证明，以水破墨是唐代以后的事，六朝以前的笔墨技法，还是干笔蘸浓墨，“骨法用笔”，是六朝之前最广泛最基本的笔法和墨法。干笔蘸浓墨还是湿笔破墨，体现两种不同的墨韵。湿笔破墨墨彩模糊无泽，缺乏骨法用笔的基本特征。第五，绘画受体的性质决定绘画种类与特征。生绢、夯土堆砌的宫墙、墓室壁、漆器是魏晋之前绘画的主要受体。米芾说六朝之前没有熟绢，都是生绢。而六朝之前生绢的基本特征是丝圆、粗疏，经纬密度低，纤维之间空隙大，透色性强，留墨少，跑墨多。墨色到处润化，无法控制。因此想要在这样的绢帛上绘画，一定要控制浓墨中含有的水分。干笔蘸浓墨，能控制墨汁的走向，让线条圆润、流畅、劲健、硬朗、骨感有力、富有光泽，有效解决生绢本身带来的种种弊病，最能体现“骨法用笔”的力度。谢赫六法中之“骨法用笔”，实际上就是针对干笔蘸浓墨能够克服生绢本身的种种弊端而总结出来的笔墨之法。
在宫墙壁上或墓壁上作画，如果以湿笔破浓墨下笔，饱含水分的墨汁会溢出，沿着垂直、平整的墙壁顺势流淌，形成污痕且色泽暗淡。出现这种情况，显然违背了的国色和国德最基本的愿望。因此干笔蘸浓墨勾线敷彩，是最好的壁画技法。
此外，从中国绘画史上阶段性特点来看，中国画敷彩的变化，最主要特征是六朝之前和六朝之后。六朝之前几乎所有绘画以朝堂五徳、五行、五色观为主，以五行更替，确定国色。魏晋南北朝时，佛教从印度传入中国，南朝四百八十寺，绝不是夸张，是真实的存在。由此佛教美术开始影响到中国，尤其是在绘画方面，青绿开始兴起，这种现象一直维持发展到唐宋时期，壁画、帛画、漆画、院体青绿山水画和重彩人物、花鸟画用色大胆浓郁，色彩亮丽优雅。水墨也在唐代出现。如果再以国德国色或笔墨受体判断辨析焦墨画史必然产生错误结果。还有一个重要原因，唐以后笔墨受体已经不是生绢，张彦远才在《历代名画记》中提到“运墨而五色具”。
那么考古遗存为什么会有淡黑现象呢？应该说墨汁的特点不仅溶解于水，还会受光照、湿度、温度变化等环境因素，以及污染、物理损伤等的影响，墨彩会变得十分脆弱。比如相同时期的陕西兵马俑，埋藏地下2000多年，虽然在几米深的地底下保持相对的恒温、恒氧、恒湿，但其真实的颜色结构，早就发生变化了，因此稍见空气，色彩马上褪去。应该说大凡深埋墨彩壁画，一旦出土，发生褪色现象是必然。绢帛画上的墨迹，附着力深达绢丝之内，出土时与壁画有所区别。但勾涂于绢帛上的墨迹，即使附着于绢帛上，只要受到水和潮气时，仍然会褪色。唐朝时，王维是用水破墨，产生墨分五色的。而埋藏于墓中的绢帛画，受潮和水汽的侵害是长期的，在未出土前，墨色是否有变，无人知晓，但出土之后的瞬间就会有变化，这就如同兵马俑出土瞬间色彩突然变淡，直至最终消失一样。云梦秦简在出土前，应该处于无氧化状态，出土之后，墨迹依然较黑，但其色相有些淡。碳黑化学成分懒惰，导致墨汁褪色懒惰，但是墨汁溶于水是天性，长达千年的帛画，出土时，在当时科技条件下，哪怕是现在，也不可能在出土时保持缺氧恒温状态。云梦秦简目前处于朔封状态，其色泽虽黑，但缺少光泽，这是水破浓墨之后的最明显标志。回过头来在看战国末期的《人物御龙图》、《人物龙凤图》，在出土时，还没有今天这样的保护技术。今天这样的保护技术，尚不能复原其本色，何况上个世纪四十年代末出土的帛画，根本就没有技术保护其墨彩本来面目，因此历史遗存艺术品出土之后，在未进行适当保护之前褪色是必然的。
丹青居士在研究古代出土的绢帛画时，经常遇到一些研究者提出六朝之前出土的文物墨彩是淡墨的说法，然而无论是从“社会五徳终始说”的角度看，还是从古代国色观，以及破墨法出现的时间，还是绢帛的质量看，六朝之前的绢帛画、宫墙文画、壁画、漆画等等，以干笔蘸浓墨勾线、涂色是最好的绘画办法。即符合五徳五色为尊说，凸显正色贵气，也醒目提神，符合当时审美观，更符合受体实际承受力。因此，对六朝之前的勾线敷彩，大凡是墨彩的，应该是焦墨的杰作。
北海虽赊，扶摇可接。东隅已逝，桑榆非晚。丹青居士当效法古人，愿为国家、为民族文化事业之复兴与探索、研究而尽棉薄之力。
For some time, the author wrote a book called "A Brief Study of the History of Chinese Jiao Ink Painting", which has been paid more and more attention by domestic friends, and they have either left messages or put forward some valuable opinions privately. Recently, the author has sorted out some of the basis of how to distinguish and analyze the ink painting and the five-de, five-element, five-color problems closely related to the ink painting, including the pen and ink receptor problem, for the ink painting enthusiasts to read and understand, convenient to jointly explore some difficult problems in the history of Chinese ink painting.
Analyzing ancient Jiao Ink painting is not only the technical problems of ink color, ink method, line, pen and ink, but writing a "Preliminary Study on the History of Chinese Jiao Ink Painting" requires mastering the profound traditional culture of ancient Chinese society and the quality of pen and ink receptors in different historical periods.
When Dan Qingjushi wrote "A Brief Study on the History of Chinese Jiao Ink Painting", the most troublesome thing is why distinguish some ancient paintings are Jiao Ink paintings? Why distinguish between some paintings is the shape of dead pen and thirst for ink? Why distinguish between ancient pure black is charred ink?
Almost all media and the vast majority of historians believe that the Yangshao color pottery pattern is Jiao Ink painting, but no one has demonstrated why it is Jiao Ink painting. Mr. Huang Binhong has the saying that "the Northern Song Dynasty uses more coke ink", but no one demonstrates what is the basis of Huang Binhong's "the Northern Song Dynasty uses more coke ink"? That's what everyone says anyway, that's what they think. Thinking down, more than 7,000 years of Chinese Jiaoink painting left too many problems. Arguments need to be made.
Danqing Jushi hopes to become the person who studies the history of Jiaoink painting, if it attracts Jiaoink painting scholars to participate in the discussion and put forward valuable opinions, Danqing Jushi feels that it is also us people, for the painting cause of the motherland to do something, and not live up to the pen and ink.
Tang Dynasty Zhang Yanyuan "Famous Paintings of Past Dynasties" has the saying of "carrying ink and five-color utensils", which later summed up as Jiao, thick, heavy, light, and clear five colors. Jiao Ink is a half-dry ink, black and shiny, is the deepest ink; thick ink is dark black ink, no luster after adding water; heavy ink is more water content than thick ink, light color; light ink is more water, lighter color; clear ink is extremely light ink, almost water color. If the "semi-dry ink" and the "Chinese painting technique description · ink method" in the "dry pen dipped in thick ink, the traditional called Jiao ink" for comparison, more consistent places have "dry" characteristics, indicating that Jiao ink should be a little dry thick ink. In the five colors of ink, the focus ink is also called "original ink". The original ink itself is one of the five purest colors in ancient China, "pure black".
From the perspective of the five-color view in traditional Chinese culture, the five-color color occupying five directions according to the five-way statement is positive color, which is the most basic and pure five colors in the ancient Chinese color system, that is, pure green, pure red, pure yellow, pure white, pure black. The ancients believed that these colors symbolized the five elements of heaven and earth (wood, fire, earth, gold, water) and orientation (east, south, middle, west, north), and these five positive colors were independent, representing the most basic colors between heaven and earth. It has sanctity and authority. These five purest colors are regarded as the most noble colors by the sages, and are often used for formal occasions such as sacrifice and dress. Confucius once used "evil purple to take Zhu" to criticize the evil color against the positive color. Pure black is one of the five pure colors, it has a personality independent of other colors, is one of the most noble colors. It was always in the general position of national color in the first 100 years of Xia, Shang, Qin and Western Han Dynasties. The opposite of the positive color is the intercolor, also known as the base color. The secondary color is composed of two or more positive colors, including cyanosis (red and green), red (light red), Yi (light green), purple, flowing yellow (brown and yellow), light ink, etc. Intercolor is regarded as "mixed color" and "despicable color". In ancient society, positive and intercolor not only represent the difference of color, but also an important symbol of noble and low, distinguishing grades.
According to the ancient Chinese traditional culture about Wude, pure black is one of the positive colors, but also one of the Wude. "History Records" contained in "Qin Wengong won the black dragon, get the water virtue of Rui" is to say that the virtue of the great Qin state is water virtue. What is water, good as water, water conservancy all things, water drops through stone. The Tao Te Ching says that water "is not weak in the world than water, and the strong can win, it is not easy", there is nothing weaker than water, it has the power to penetrate hard rock. Pure black represents a moral energy.
Obviously in the historical period before the Han Dynasty, breaking ink with water was equal to breaking phase, breaking phase of the positive color status of Jiao ink, breaking national dignity and feng shui, and committing the taboos of the five-color view and the five-deed theory. The effect of dipped dry pen in thick ink hook line color to obtain black and shiny pictures and broken thick ink hook line color with wet pen to make the picture completely lose black gloss, it should be said that according to the German color, painters should choose the coking ink method when painting.
From the perspective of the history of ink, according to the records of the history of Chinese painting and the judgment of the famous painters on the history of ink, any judgment of ink painting is impractical before there is no pen and ink receptor suitable for ink painting. In fact, the history of painting development proves that Wang Wei pioneered the "breaking ink" technique in the Tang Dynasty, after all, it is a matter after the Tang Dynasty. If the coke ink is dipped in thick ink with a dry pen, Wang Wei's ink is broken with a wet pen, which is the most significant difference between broken ink and coke ink. Wang Weimu divided into five colors, so that the technique of breaking ink with water appeared in the history of Chinese painting for the first time, thus proving that the five colors of ink divided into five colors was a matter after the Tang Dynasty, and counter-proved that the Jiao ink method belonged to the position of solipsism in the ink law before the Tang Dynasty. In this case, the "ink division of five colors" adhered to by the Mofa before the Six Dynasties is a lack of respect for historical facts.
After the Tang Dynasty, Buddhism was introduced, breaking the etiquette and law mechanism of the five-color view and national morality theory of the previous dynasties. Since then, national morality and national color have changed. This point from the official costumes and murals of the Tang Dynasty, it shows that the five-color view and five-demeanor theory, which originated in the Fuxi period in the Tang Dynasty for about 6,000 years, are no longer the only national color and national morality in China.
Comprehensive consideration, analyze whether the archaeological relics before the Six Dynasties are Jiao Ink paintings, from theory to practice, the basis is generally divided into five aspects. First, what was the national morality determined by the king at some time before the Six Dynasties? Second, what was the king's determination of the national color at some point before the Six Dynasties? These two questions were the most important prerequisites of the social governance system at that time, and violating this premise was against the will of the king and against the will of the state. Guode is the soul of national painting art during this period. For example, pure black charred ink color, representing water. What is water, good as water, water conservancy all things, water drops through stone. The Tao Te Ching says that water "is not weak in the world than water, and the strong can win, it is not easy", there is nothing weaker than water in the world, but the power to penetrate the hard rock can not compare it. National color is the external expression of national morality, the color of national morality is black, like the characteristics of water, never highlight themselves, do not express themselves, it is simple and unpretentious, it is beautiful and speechless, but black has mysterious power, which is the connotation and realm of Jiao Ink painting itself. Third, the ancient people used noble colors to communicate with man and God, which was to use positive colors as a medium for the soul to ascend to heaven. A large number of paintings in the Han Dynasty were painted in red and black. In particular, tomb murals, silk paintings, lacquer paintings color selection to paint in red, black, not only when they are alive with it as a symbol of aristocratic status, but also fantasy after death through red, black to give them the noble social status, so that the soul soar. It can be seen that red and black are in a high position in ancient society.
The Xin Chaofei silk paintings unearthed during the Cultural Revolution are mainly red, outlined with black lines, and black birds are painted above. The Han Dynasty believed that red and black could help the master communicate with the gods and ascend to the heavenly realm. Fourth, "Famous Paintings of Past Dynasties" directly proves that breaking ink with water is a matter after the Tang Dynasty, the pen and ink technique before the Six Dynasties, or dry pen dipped in thick ink, "bone method with pen", is the most extensive and basic stroke and ink before the Six Dynasties. Dry pen dipped in thick ink or wet pen broken ink, reflecting two different ink rhymes. Wet pen broken ink ink color blurred luster, lack of the basic characteristics of bone pen. Fifth, the nature of the painting receptor determines the type and characteristics of painting. Silk, rammed earth piled palace walls, tomb walls, lacquerware were the main recipients of painting before Wei and Jin Dynasties. Mi Feng said that there was no cooked silk before the Six Dynasties, and it was all raw silk. The basic characteristics of silk before the Six Dynasties are round silk, coarse, low longitude and weft density, large gap between fibers, strong color permeability, less ink retention, more ink running. The ink moistened everywhere and could not be controlled. Therefore, if you want to paint on such silk, you must control the water contained in the thick ink. Dry pen dipped in thick ink, can control the direction of ink, so that the lines are round, smooth, strong, hard, strong bone feeling, full of luster, effectively solve the various ills brought by the silk itself, the most can reflect the strength of "bone pen". The "bone method pen" in the Six Methods of Sheikh is actually a method of pen and ink summed up for dry pen dipped in thick ink to overcome the shortcomings of raw silk itself.
Painting on the walls of the palace or on the walls of the tomb, if the wet pen is broken under the thick ink, the ink full of water will overflow, flow along the vertical, flat wall homeopathic, forming stains and dim color. This situation obviously violates the most basic aspirations of national color and national morality, so dry pen dipped in thick ink hook line painting, is the best mural technique.
In addition, from the perspective of the stage characteristics in the history of Chinese painting, the most important feature of the change of Chinese painting painting is before and after the Six Dynasties. Before the Six Dynasties, almost all paintings were dominated by the five-deed, five-element, five-color view, and the five-element replacement was used to determine the national color. During the Wei, Jin and Southern Dynasties, Buddhism was introduced to China from India, and the 480 temples of the Southern Dynasty were by no means exaggerated and real. From this Buddhist art began to affect China, especially in painting, green began to rise, this phenomenon has been maintained to the Tang and Song Dynasties, murals, silk paintings, lacquer paintings, courtyard green landscape paintings and heavy-colored figures, flower and bird paintings with bold and rich colors, bright and elegant colors. Ink also appeared in the Tang Dynasty. If we judge the history of focal ink painting by the color or pen and ink receptor in Germany, it will inevitably produce wrong results. There is also an important reason, after the Tang Dynasty pen and ink receptor is no longer a raw silk, Zhang Yanyuan just mentioned in the "History of Famous Paintings" "carrying ink and five-color utensils".
So why are there black phenomena in archaeological remains? It should be said that the characteristics of ink not only dissolve in water, but also be affected by environmental factors such as light, humidity, temperature changes, as well as pollution, physical damage, etc., ink color will become very fragile. For example, the Shaanxi Terracotta Army and Horses of the same period, buried underground for more than 2000 years, although a few meters deep underground to maintain a relative constant temperature, constant oxygen, constant humidity, but its true color structure, has long changed, so a little air, the color immediately faded. It should be said that Dafan buried deep ink murals, once unearthed, the phenomenon of fading is inevitable. The ink stains on silk paintings have deep adhesion to silk, and are different from murals when unearthed. But the ink stains smeared on silk, even if attached to silk, will fade as long as they are exposed
to water and moisture. During the Tang Dynasty, Wang Wei broke ink with water and produced ink divided into five colors. And buried in the tomb of silk paintings, by moisture and water vapor infringement is long-term, before unearthed, whether the ink color has changed, no one knows, but the moment after unearthed will change, which is like the terracotta warriors unearthed moment color suddenly faded, until finally disappeared. Yunmeng Qinjian before unearthing, should be in a state of no oxidation, after unearthing, the ink is still dark, but its hue is a little light. Carbon black chemical composition lazy, resulting in ink fade lazy, but ink soluble in water is natural, up to a thousand years of silk paintings, unearthed, under the conditions of science and technology at that time, even now, it is impossible to maintain an oxygen-deficient constant temperature state when unearthed. Yunmeng Qinjian is currently in a new state, although its color is black, but lack of luster, which is the most obvious sign after the water broke the thick ink. Looking back at the "Figure Imperial Dragon Map" and "Figure Dragon and Phoenix Map" at the end of the Warring States Period, when unearthed, there was no such protection technology as today. Today's protection technology can not restore its true color, not to mention the silk paintings unearthed in the late 1940s, there is no technology to protect its original face of ink color, so after the unearthed historical relics of art, it is inevitable to fade before proper protection.
When studying silk paintings unearthed in ancient times, Danqing Jushi often encountered some researchers who put forward that the cultural relics unearthed before the Six Dynasties were light ink, but whether it is from the perspective of "the end of the society", or from the perspective of the ancient national color view, and the time of the emergence of the ink-breaking method, or the quality of silk, silk paintings before the Six Dynasties, palace wall painting, murals, lacquer paintings, etc., to dry pen dipped in thick ink hooks, coloring is the best way to paint. That is, in line with the five colors as respect, highlighting the nobleness of positive color, but also eye-catching refreshing, in line with the aesthetic view at that time, more in line with the actual endurance of the receptor. Therefore, the hook line before the Six Dynasties applied color, most of the ink color, should be the masterpiece of Jiao ink.
Although the North Sea is on credit, it can be shaken. The east corner is gone, and the mulberry is not late. Danqing scholars should follow the ancients and are willing to do their best for the rejuvenation, exploration and research of the country and the national cultural cause.
Danqing Jushi
未完待续
本系列焦墨画史研究，在分析中国焦墨画发展轨迹，借鉴同行一些观点基础上，提出笔者个人对焦墨画发展轨迹与史实的再认识。非经本人许可，谢绝非法转载、复制粘贴传播。有意探讨焦墨画历史者，留言与我探讨焦墨画的前世今生。
（对中国焦墨画有不同见解的朋友，可以友好交流）
丹青居士
2025.5.18
来源：诗画人生