翻译：水画的色彩观逐步形成在历史悠久的进程中随着社会的发展的与物质水平的进步人们的意识在提升山水画的用色理念也在不断变化。而重彩山水的色彩观念完全不同于西方的三原色观念其注重画面意境的创作手法也和西方风景油画的写实创作手法不同因此色彩问题也成为笔者在构图中反复考量、塑造中反复斟酌的重要问题之一。在整体用色上笔者参照胡明哲的简明色彩配置体系精简提炼的使用对比色并在导师的指导下完成前期的色稿。在开始创

The concept of color in water painting gradually formed through a long historical process. With the development of society and the improvement of material conditions, people's awareness has been elevated, and the color concept in landscape painting has also been constantly changing. The color concept of heavy-color landscape is completely different from the Western concept of primary colors. Its focus on creating artistic conception in the composition technique is also different from the realistic creation technique of Western landscape oil painting. Therefore, color has become one of the important issues that the author repeatedly considers and shapes in composition. In terms of overall color usage, the author refers to Hu Mingzhe's concise color configuration system, using contrasting colors that are simplified and refined, and under the guidance of the mentor, completes the preliminary color drafts.

Before starting the creation, due to the influence of the mentor's painting style, there was a strong expectation for blue-green. A large number of classic blue-green landscape works were copied in the early stage, and the plein air creations were also mainly based on blue-green landscapes. Therefore, the main colors of this series were also chosen to be blue-green. In traditional blue-green landscape works, they are often influenced by traditional cultures such as Confucianism, Taoism, and Buddhism, and often present the beauty of moderation, without using distinct warm and cool contrasting colors, and rarely having strong warm and cool contrasts. However, in order to make the actual presentation of the artwork more intense, this series of works incorporates the language of mixed materials in painting, and also strengthens the warm and cool contrasts in color, making the artwork appear more realistic and specific