水墨画的传统规范,在一幅画中要求“有笔有墨”,唐代有“画圣”之称的吴道子被视为“有笔无墨”的画家,项容则是“有墨无笔”的画家。五代荆浩在《笔法记》中云:“项容山水,树石顽涩,棱角无(足追),用墨独得玄门,用笔全无其骨。”“吴道子笔胜于象,骨气自高,树不言图,亦恨无墨”。宋代韩拙在《山水纯全集》中云:“道子山水有笔而无墨,项容山水有墨而无笔。”清代石涛公允地认为“古之人有有笔有墨者,亦有有笔无墨者,亦有有墨无笔者”。正视历史的现实,几代人的实践与评论从另一个侧面展示笔和墨可以独立地表现一幅完整的绘画,似乎还 The traditional norms of ink-and-wash call for “painting with ink” in one painting. Wu Daozi, who has the title of “Painting Saint” in the Tang Dynasty, is regarded as a painter with “pen and ink” Pen “painter. Five Dynasties Jing Hao in the ”calligraphy“ in the cloud: ”Xiangrong landscapes, tree stubborn, edges and corners without (foot chasing), with Mexico won the Xuanmen, no pen with the bone.“ ”Wu Daozi pen is better than the image, Bone self-esteem, the tree does not map, also hate inkless. “ In the Song Dynasty, Han Zhuo said in the ”Complete Collection of Mountains and Rivers“: ”There is a pen in the Taoist landscape but no ink in the landscape, but there is no ink in the landscape.“ In the Qing Dynasty, Shi Tao fairly considered that ” There are no ink pen, there are also no ink ". Faced with the reality of history, the practice and commentary of several generations show that the pen and ink can independently display a complete painting from another aspect, and it seems that