繪畫是一種視覺的藝術，其表現形式少不了「形」與「色」的映現，色彩的應用已成為一種趨勢。
中國畫論裡有「墨分五色」之說，為中國傳統繪畫主流立下了美學標準，其間色彩的出現，只能視為對墨色的補助，或對物象的說明，因而忽視色彩的使用與發展，但從整體的人類藝術發展史來看，中國新石器時代的彩繪陶、漢代的漆繪、帛畫、唐宋的絹畫和古埃及壁畫、希臘的彩陶製品，都可發現色彩與墨色相互搭配。隨著時代的變遷，越來越趨向多元化，色彩運用的觀念有了大幅度的蛻變，色與光成為畫中兩大元素，色彩躍動於畫面裡與墨色的相濡相溶，水墨中吸取色彩的養分，展現出時代風格，此時，中國繪畫已從視覺的墨與色，演變為主觀、自我的墨與色，藉由感官而超越感官的侷限，使得色彩的發展更具有寬廣的表現空間。
媒材只是表達物體外在形象的工具，而墨彩融合的觀念，除了以彩和墨結合來界定外，本論文對於中國繪畫與膠彩畫中的「色彩」予以研究、探討，並將時代的色彩投入傳統繪畫裡，從前人的經驗中吸取精華，作為個人創作之參考。
Painting is a visual art which requires the presentations of shapes and colors. The applications of colors are essential in this regard.
In Chinese paintings, there are five tints of ink color. This theory has established the aesthetic standards for traditional Chinese paintings. As the tints of colors appearing in between are considered to augment the ink expressions or explain the subject matters, the use and development of colors has been long neglected. However, if we expand our time horizon to the overall development of art history all over the world, we notice that the pottery decorated with color drawings of the New Stone Age in China, painted lacquer and silk-cloth paintings of the Han Dynasty, silk paintings of the Tang Dynasty and Sung Dynasty, wall paintings of ancient Egypt and colored potters of Greece are all evidence of the interaction of colors and ink tints. With the advancements of the times, there is a growing variety in such interactions and the concepts of color applications have come a long way. Color and light have become the two major elements of the paintings. Colors dance around in the paintings and live side by side with ink tints. The water inks absorb the nutrients of the colors and demonstrate the flavors of their times. At that time, the Chinese paintings have developed a subjective way of visualization of inks and colors. The development of colors has been pushing further the space for expressions as color and ink tints transcend senses from the perceptions of senses.
Materials are merely tools to express the outer images of the subject matters. This paper examines the concept of the fusion between colors and ink tints. In addition to the definition of the combination of colors and inks, this paper studies and explores the “colors” of Chinese paintings and glue color paintings by incorporating the flairs of our times into traditional paintings. This paper hopes to extract essences from the experience of past generations in order to serve as reference for personal creative arts.
