国画的媒介是纸墨笔砚,用自我的体验表达其主体欲望及宣泄物化的试验,使其融于天地之气,形与思的结果,其试验过程中的语言主体的新经验之包容,达到水墨之再现其感觉,构成完善的水墨世界。水墨语言是人的主观思维借于水墨媒介创作完整形式,其自身水墨语言的行为是经过媒介的通行及先天与后天的思维才得以展现。故,水墨语言经验体现不以后天经验所获得,经以创作思维与媒介之新体验,其水墨之行为感悟,包融于自身之有物非物之开发,使之语言的经验显现的存在,或多或少地视为概合之性。顾恺之说:“若轻物宜利其笔,重以陈其迹,各以全其想”。凡画,气韵本乎游心,神彩生于用笔……无适一篇之文,一物之缘,而能一笔可就也,乃是自始及终,笔有朝辑,连绵 The medium of Chinese painting is a paper-ink inkstone, expressing its subjective desires and catharsis experiments with self-experience, bringing it into harmony with the atmosphere of the world, the result of form and thought, the inclusiveness of the new experience of the main body of language during the experiment, Reproduction of ink to feel, constitute a perfect ink world. Ink language is the subjective thinking of man. By virtue of the complete form of ink-and-ink media, his own behavior in ink and wash language can be demonstrated through the media’s passage and innate and acquired thinking. Therefore, the experience of ink language can not be obtained from the experience of the later days. Through the creative experience and the new experience of the media, the ink and wash behavior comprehend itself, More or less as generality. Gu Kai said: “If light objects should be beneficial to its pen, heavy to its traces of Chen, all in their thoughts.” Where the painting, the atmosphere of the Wandering heart, God of Choi was born with a pen ... ... No suitable article, the edge of a thing, but can be a stroke, but from the beginning and end,