In nature and life, form is attached to a certain form. This is a fact, but it does not mean that form is always the slave of form. It is also true that, in some cases, color may and must break through to become the main character. From a psychological point of view, human vision is selective. For example, when someone wants to find their friends in red clothes in a distant crowd, smart people will focus their visual focus on capturing people in red clothes. At this time, color becomes the preferred object, and other factors can be ignored. When a foreign painter first saw the scene of the gods lining up in the Chinese Peking Opera "Havoc in Heaven", he was very excited and said that what he saw was full of colors. Therefore, on the one hand, people's vision is selective; on the other hand, the most prominent visual image in the visual object, or shape or color, or person or object, stimulates vision or other sensory organs differently. If the stimulation of color is stronger than that of form, or when one's vision is looking for a certain color block, then the color image will become the main role, and enter the vision first, and other factors, such as "shape", will be blurred immediately. As a work of art, the author can reproduce his own impressions on the picture artistically, and achieve color breakthroughs to form a color advantage, giving people a strong color feeling, so as to obtain the aesthetic enjoyment of color.

When Hegel talked about color in his "Aesthetics", he called the color effect "magic" many times. When discussing the color of painting in the chapter of "Music", he said: "When the art of coloring develops into a color magic, the objective image seems to begin to disappear, and its effect is almost no longer produced by material things. In the process of development, painting has finally achieved the liberation of the shape. The shape is no longer attached to the pure natural form, but can play a role freely and independently in its own range of activities, showing the game and the repeated reflection of the shape. Changes in shades of light and shade." He added, "The magic of this color mainly occurs in this situation: the materiality and spirituality of the object seems to have penetrated into the conception and treatment of coloring and evaporated. Generally, it can be like this It is said that the magic lies in the proper handling of colors, resulting in a game of color phenomena that has no purpose in itself, a waving peak of color, and the interpenetration of hues, a reflection of many The radiance of these reflections among many other luminaries becomes subtle, ever-changing, so vivid that they begin to transcend the realm of music."

When Hegel talked about color in his "Aesthetics", he called the color effect "magic" many times. When discussing the color of painting in the chapter of "Music", he said: "When the art of coloring develops into a color magic, the objective image seems to begin to disappear, and its effect is almost no longer produced by material things. In the process of development, painting has finally achieved the liberation of the shape. The shape is no longer attached to the pure natural form, but can play a role freely and independently in its own range of activities, showing the game and the repeated reflection of the shape. Changes in shades of light and shade." He added, "The magic of this color mainly occurs in this situation: the materiality and spirituality of the object seems to have penetrated into the conception and treatment of coloring and evaporated. Generally, it can be like this It is said that the magic lies in the proper handling of colors, resulting in a game of color phenomena that has no purpose in itself, a waving peak of color, and the interpenetration of hues, a reflection of many Illuminated by these reflections among many other luminaries, becoming subtle, ever-changing, so vivid that they begin to transcend into the realm of music.”

In nature and life, form is attached to a certain form. This is a fact, but it does not mean that form is always the slave of form. It is also true that, in some cases, color may and must break through to become the main character. From a psychological point of view, human vision is selective. For example, when someone wants to find their friends in red clothes in a distant crowd, smart people will focus their visual focus on capturing people in red clothes. At this time, color becomes the preferred object, and other factors can be ignored. When a foreign painter first saw the scene of the gods lining up in the Chinese Peking Opera "Havoc in Heaven", he was very excited and said that what he saw was full of colors. Therefore, on the one hand, people's vision is selective; on the other hand, the most prominent visual image in the visual object, or shape or color, or person or object, stimulates vision or other sensory organs differently. If the stimulation of color is stronger than that of form, or when one's vision is looking for a certain color block, then the color image will become the main role, and enter the vision first, and other factors, such as "shape", will be blurred immediately. As a work of art, the author can reproduce his own impressions on the picture artistically, and achieve color breakthroughs to form a color advantage, giving people a strong color feeling, so as to obtain the aesthetic enjoyment of color.

When Hegel talked about color in his "Aesthetics", he called the color effect "magic" many times. When discussing the color of painting in the chapter of "Music", he said: "When the art of coloring develops into a color magic, the objective image seems to begin to disappear, and its effect is almost no longer produced by material things. In the process of development, painting has finally achieved the liberation of the shape. The shape is no longer attached to the pure natural form, but can play a role freely and independently in its own range of activities, showing the game and the repeated reflection of the shape. Changes in shades of light and shade." He added, "The magic of this color mainly occurs in this situation: the materiality and spirituality of the object seems to have penetrated into the conception and treatment of coloring and evaporated. Generally, it can be like this It is said that the magic lies in the proper handling of colors, resulting in a game of color phenomena that has no purpose in itself, a waving peak of color, and the interpenetration of hues, a reflection of many The radiance of these reflections among many other luminaries becomes subtle, ever-changing, so vivid that they begin to transcend the realm of music."

When Hegel talked about color in his "Aesthetics", he called the color effect "magic" many times. When discussing the color of painting in the chapter of "Music", he said: "When the art of coloring develops into a color magic, the objective image seems to begin to disappear, and its effect is almost no longer produced by material things. In the process of development, painting has finally achieved the liberation of the shape. The shape is no longer attached to the pure natural form, but can play a role freely and independently in its own range of activities, showing the game and the repeated reflection of the shape. Changes in shades of light and shade." He added, "The magic of this color mainly occurs in this situation: the materiality and spirituality of the object seems to have penetrated into the conception and treatment of coloring and evaporated. Generally, it can be like this It is said that the magic lies in the proper handling of colors, resulting in a game of color phenomena that has no purpose in itself, a waving peak of color, and the interpenetration of hues, a reflection of many Illuminated by these reflections among many other luminaries, becoming subtle, ever-changing, so vivid that they begin to transcend into the realm of music.”