Chinese ink and wash painting, taking ink as the carrier and based on the variation of the colour of black and white, has been developed under the deep influence of the Han nationality's philosophy- the theory of Yin Yang and five elements. With the development of metaphysics in Wei and Jin dynasties, the rudiment of ink landscape, which was mainly manifested with the stroke of hook, cracked and ink dye. Wang Wei, in Tang Dynasty, once wrote in his essay Skills of Landscape Painting: wash and ink painting is a very high level of painting. This interpretation has established the aesthetic orientation in Chinese wash and ink painting. After the rising of the literati paintings in Song Dynasty, lots of ink flower-and-bird painting and ink figure painting have been seen. Till this time, the Chinese ink and wash painting, taking water and ink as its basic materials, and the theory that man is an integral part of the nature as its core value, has become mature gradually and a system was eventually formed. Zhang Yanyuan in Tang Dynasty, wrote in his the Famous Paintings of History that five colours would be presented through different strokes of ink. He classified five types of using water and ink in painting. There are many different interpretations for the five colours and the author tends to divide them into five stroke types: thick (containing more ink), light (containing less ink), dry (containing less water), wet (containing more water), extremely thick (containing the most ink). Moreover, combining her practice of water and ink paining for decades and her study of Yi-ology, the author tries to bring the five types of using water and ink (they might be called the five types of water- and- ink-using in painting temporally) into the studies of Yin Yang and five elements (including the Feng Shui Theory, numerology and traditional Chinese medicine, which were originally developed from the Yi-ology). Wood of the five elements, corresponding to Light of the five types of water-and-ink using in painting, is positive, with an elegant and refined character; Fire, corresponding to Dry in painting, is extremely positive, with a high stated character; Earth, corresponding to Thick in painting, is neutral, with a steady character; Metal, corresponding to Extreme Thick in painting, is negative, with a deliberate character; Water, corresponding to Wet in painting, is extremely negative, with a soft and smooth character. A painter is a part of the universe. Hence his/her location and horoscope inevitably connects the five types of his/her ink and wash paintings. One's external presentation is the embodiment of the internal quality and the internal quality includes not only one's subjective practice in mentality, but also one's health conditions in physiology. If the painter's horoscope agrees with the five types of his/her ink and wash paintings, the mental happiness and physical health shall be ensured; if not, the spiritual happiness and physical health might be influenced. In this essay, the author classifies painters' horoscope into four types, which are lack-of-metal type, lack-of-water type, lack-of-wood type, lack-of-fire type, and analyze the connection between them and the five types of the wash-and-ink paintings. The main idea of the Yi-ology is that a man is an integral part of the nature and a man should conform to nature. In Qian Gua, the first divinatory symbols among the eight ones in Zhou Yi (the ancient text of Yi-ology), it interpreted the idea in a metaphor that haughtiness invited ruin. A proper application of the stroke of thick, light, dry, wet and extremely thick to the painting can help the art work keep balanced of Yin and Yang and is presented with a lively spirit and charm. Otherwise, the art work will be a failure. If a painter can understand the dialectical relationship between the theory of Yin and Yang and the five elements and the five elements and the five stroke types in ink painting, he/she shall be able to understand his/her artistic creation and arts appreciation. This is also the significance of studying oriental art philosophy.

以水墨為媒材、以黑白變化為基調的中國水墨畫, 是在中國古代漢民 族的哲學思想----- “陰陽五行學說” 的深刻影響之下發展而來的。 魏 晉時期玄學興起, 應運出現了以筆墨勾皴和淡墨渲染為表現手法的水墨 山水畫雛形。 唐代王維「山水訣」 “夫畫道之中, 水墨為上。” 確立了中國 山水畫的審美取向。 至宋代文人畫興起後, 又相繼出現了大量的水墨花 鳥畫和水墨人物畫。 至此, 以水、 墨為基本創作材料、 以 “天人合一”為 精神靈魂的中國水墨畫漸趨成熟, 並自成體系。 唐代張彥遠在『歷代名畫記』中提出“運墨而五色具”, 把水墨的運用分 為五種形態。 後世對水墨之“五色”說法不一, 本人傾向於“濃、淡、幹、 濕、 焦”, 並將多年水墨繪畫實踐與易學研究相結合, 把水墨的五種運用 形態（權且稱之為水墨五態）納入到陰陽五行（包括風水命理、中醫學等 周易延展之學科）的架構中進行研究。 五行之“木”, 對應水墨五態之“淡”, 屬陽, 其性清雅；五行之“火”, 對 應水墨五態之“幹”, 屬至陽, 其性張揚；五行之“土”, 對應水墨五態之 “濃”, 中性, 其性穩重；五行之“金”, 對應水墨五態之“焦”, 陰性, 其性 沉毅；五行之“水”, 對應水墨五態之“濕”, 至陰, 其性柔潤。 作畫者作為“天、地、人”中的一分子, 其所處的地域和生辰的四柱八字 與其作品水墨五行之間存在必然的內在關聯。 一個人的外在表現是內 在素質的體現, 而內在素質不僅包括心理層面的主觀修行, 也包括生理 層面的身體健康。 若作畫者的生辰五行與其作品水墨五行相合, 則五志 愉悅、五體康健；而相悖則易影響生理和心理健康。 本文將作畫者生辰 歸入餓金命、 餓水命、 餓木命、 餓火命四類並逐一簡析其與水墨作品五 行的關聯。 “天人合一、 順應自然” 是周易的主旨。 『周易』首卦乾卦之 “上九： 亢龍有悔, 盈不可久也”, 強調了過盈必有虧, 過滿必招損。 適度的濃淡 幹濕焦能夠使畫面陰陽平衡、 五行俱全, 剛柔相濟、 潤燥得體、 氣韻通 達, 一旦失衡則病態百出。 掌握陰陽五行與水墨五態辯證關係原理, 就 能夠站在藝術哲學的高度來指導自己相關的藝術創作和藝術賞析。 這 也是研究東方藝術哲學的意義所在。

I. 引言 水墨畫與水墨五態
  1. 陰陽與五行
  2. 陰陽五行與水墨五態
  3. 結語
  <參考文獻>

• 王瑤(中国安徽新华学院动漫学院兼职教授, China's Anhui Province, Xinhua College Anime a Part-time, College Professor) | Wang Yao