On The Pictorial Formal Composition Between Black And White

Chess masters think over the general chess while those aren't good at it only look at the individual chessman when playing chess. The planar space in the painting is a zoetic "field", in which any visual and plastic elements will scrabble for their own orbit as soon as they come in. The spacial power which black and white try to occupy in the field is just like playing chess. All of these, including dependence between ens and naught, contrast between void and solid, conflicts shifting, infiltration and conformity, rhythm coruscating and etc, are a kind of visual innervation produced by the combination of energy. Black and white in the picture are not dancing with the light so as to reveal the object's breathing hallucination but moving with the rhythm of the heart. The style of drawing is smooth and flexible;black and white are organised freely so they reveal the pictorial style, spirit and taste, even the painter's characteristics. The painter can rely on the two colours to realize the highest artistic state. How is it defined, collided and restricted between white and black formal power in forming the pictorial vigour structure and relation? How is it planned and harmonized as a whole, and combined organically to be a simple and fit whole between black and white? And how does the whole show feelings, pattern and atmosphere? The thesis is trying to explore the law of the pictorial formal composition between black and white and the spiritual connotation of the form on the basis of graphic analysis and from the principle of visual dynamics and the angle of aesthetic psychology.