在艺术创作的学习中，我在绘画材质的应用上进行了诸多的尝试。一次敦煌之行，我对敦煌壁画的材质产生了极大的兴趣。敦煌壁画的材质是以各种彩色岩石为媒介的。壁画中那彩色岩石颗粒中闪烁的东方智慧把我带入中国传统绘画的奇妙之中，去感受中国文化上千年的精神延续。关于画种的命名，有多种方式。有以国家和地域来命名的如中国画；有以调和剂来命名的如油画、水彩画；还有以技术材质来命名的如版画；“岩彩画”则是根据自身属性以材质来命名的。“岩彩画”是以大自然中的矿物质材料为媒介，用胶进行调和的绘画种类。岩彩绘画的色相是由岩石材质的本身所决定的，岩石材质具有各种天生的色彩，每种颜色的色相又会因颗粒的大小和微粉的细微变化而变化。人们常说“一方水土养一方人”，其实一方岩石也是一方颜色。岩彩取之于自然，不仅具有自然属性，还具有本土性，这一方颜色的本土性形成了中国传统绘画的文化属性。岩彩绘画色质的这种本土性、游离性和不稳定性，为我们的画家从随类赋彩到随心赋彩增加了的更多可能性。 本次论文本着以讨论“岩彩材质语言的特征关键点”为目的分为四个部分。 第一部分追溯了早期传统岩彩绘画的材质与色彩特征，从早期原始洞穴壁画到日本明治时期岩彩材质的拓展进行探讨，这对研究当代岩彩绘画材质语言的特征具有重要的学术支撑作用。 第二部分以当代岩彩绘画材质特征的多元化为主要分析方向，从岩彩材质的种类扩充入手，岩彩材质无法复制、不可重复的非程式化结构形态，以及其粗颗粒的材质特征恰恰也促使了岩彩材质的当代性。 第三部分站在当代新语境下，面临传统艺术表现语言的渐渐式微，当代岩彩艺术家旨在提倡格物致知、推翻重“道”轻“器”的思想观念，迫不及待在作品中用岩彩材质，来唤醒这古老东方的色彩材质情结。最后一部分着重分析了岩彩材质语言对本人艺术创作产生的启示和影响。

In the study of artistic creation, I have made many attempts in the application of painting materials. During a trip to dunhuang, I became very interested in the material of dunhuang murals. The material of dunhuang frescoes is made of various colored rocks. The glinting Oriental wisdom in the colored rock particles in the mural brings me into the wonder of traditional Chinese painting, to feel the spiritual continuation of Chinese culture for thousands of years.This paper is divided into four parts for the purpose of discussing the feature key points of rock color material language. There are various ways to name a painting. There are countries and regions to name such as Chinese painting; There are to reconcile the agent to name such as oil painting, watercolor painting; There are also technical materials to name such as prints; "Rock painting" is based on its own attributes to the material to name. "Rock painting" is a kind of painting in which mineral materials in nature are used as the medium and glue is used for blending. The hue of rock color painting is determined by the rock material itself, the rock material has a variety of natural colors, and the hue of each color will vary with the size of the particles and the subtle changes of the powder. People often say "one side soil and water nurturance one side person", actually one side rock also is one side color. Rock color from the nature, not only has natural attributes, but also has the local nature, the color of the local formed the cultural attributes of traditional Chinese painting. The local, free and unstable nature of rock painting increases more possibilities for our painters to paint at will from random to random. This paper is divided into four parts for the purpose of discussing the feature key points of rock color material language. The first part traces the material and color characteristics of early traditional rock color paintings, and discusses the development of rock color materials from the early primitive cave paintings to the Meiji period in Japan. The second part takes the diversification of the material characteristics of contemporary rock color painting as the main direction of analysis. Starting from the expansion of the types of rock color materials, the non-stylized structure of rock color materials that cannot be duplicated and cannot be repeated, as well as the material characteristics of its coarse particles precisely promote the contemporary nature of rock color materials. The third part stands in the contemporary new context, facing the gradual decline of the traditional art expression language. The contemporary rock color artists aim to advocate the knowledge of the subject and overthrow the ideology that emphasizes "dao" rather than "ware". They can't wait to use rock color materials in their works to wake up the ancient Oriental color texture complex. The last part mainly analyzes the inspiration and influence of rock color material language on my artistic creation.