黑与白是两种相反的颜色,它如同天地、阴阳、生死、方圆、动静、虚实、好坏等一样是对立统一的存在。没有黑,就没有白,没有白,也就没有黑。它们互相贯通,互相渗透,互为依存,互相映衬,交错呼应,各自向相反的方向转化。我国商周时期,青铜艺术的造型,就是方中寓圆,或圆中寓方,“如纯方,则诉诸人之感觉是有骨无肉,冷硬偏于理性;如纯圆,则有肉无骨,混沌无精神。”(张仃:《张光宇的装饰艺术》)我国原始彩陶艺术中具象中含有抽象,抽象中含有具象,一切都在似与不似的美妙之中。抽象来自具象,具象为抽象创造了条件。这就象工艺美术家庞薰琴先生所说的那样:“在我国装饰画上,没有不写实的变形,也没有不变形的写实。”运用对立统 Black and white are two opposite colors. They are the same as opposites, such as heaven and earth, yin and yang, life and death, radius, movement, actual situation, good or bad. No black, no white, no white, there is no black. They are inter-penetrating, interpenetrating and interdependent, mutually supporting and interlacing, each transforming in the opposite direction. During the Shang and Zhou dynasties in China, the bronze art was shaped by the squares, or the middle of the circle. “If pure prescriptions are used, There is no bone in the meat, no chaos in the spirit. ”(Zhang Ding:“ Zhang Guangyu’s Art Deco ”) The art of primitive pottery in our country contains abstraction in the figurative art, and the abstraction contains the figurative element. Abstraction comes from figurative, figurative to create conditions for abstraction. This is like the craft artist Pang Xumin said: “In our decorative painting, there is no unrealistic distortion, nor deformable realism.” The use of opposites