这篇文章的中文版本是ChatGPT根据我的草稿写得出来的。英文部分则由ChatGPT翻译，有部分修改。The Chinese text below is generated by ChatGPT using my original manuscript. The English version has also been translated by ChatGPT, with minor corrections made by me.
我认为我画画的主要问题不在于手的熟练程度，而是在于大脑对色彩的表达能力。实际上，由于我从小就开始绘画，我的手控制能力很好，基本上可以勾勒出我想要的线条和形态。但是，我无法将眼睛看到的实物色彩转化为纸上的一套和谐的、明暗自洽的颜色体系。
每当我翻阅名家的画册，我总觉得他们的色彩运用与真实世界的色彩截然不同，似乎是根据内心的认知来表达。他们仿佛只是借用了真实世界事物的形态和光影关系，而色彩则完全依据他们的逻辑来渲染。例如，当他们看到晴天下的一堵白墙，他们知道要使用哪些颜料来表达才能好看；而在阴天下的同一堵白墙，又会使用另一套色彩。这种色彩转译体系是他们内心深处的约定，是非常宝贵的能力。由于这种能力，他们的作品总是能体现出浓烈而独特的个人风格。
相比之下，我自己由于缺乏系统的色彩转译方法，每次面对不同的绘画场景时都需要现场思考和尝试，因此每幅作品看起来都像是不同人所画。这种现场思考的方法十分低效，而且效果不佳。毕竟，名家的色彩运用都是通过无数经验总结出来的。为什么我不能站在巨人的肩膀上借鉴经验，而是要自己摸索，最终功亏一篑呢？
我想到欧洲古代的名师们，他们有自己的工作室和弟子，一起完成了许多伟大的作品。这些日后也成为大师的弟子们在学习初期肯定是需要严格遵循老师的色彩体系的。比如，老师可能会告诉他们，某种材质和颜色的布料必须使用特定的底色，然后添加其他颜色进行过渡，或者添加不同颜色来表现冷暖等等。这样一来，弟子们省去了大量的试验时间，从一开始就能熟练运用大师验证过的色彩体系，为今后创作自己的风格打下基础。
我非常希望有一位大师能明确指导我，告诉我在某种材质下应该使用什么底色，即使画出来的效果与实物有所不同也无妨，因为绘画本来就不是对现场的简单的复制，而是个人审美和技术的结合创作。
I feel that the biggest issue with my painting lies not in the proficiency of my hand, but rather in the translation ability of my brain when it comes to colors. In fact, because I have been drawing since childhood without pause, my brain’s control over my hand is very good. I can draw almost any desired lines and adjust shapes as needed. However, my brain struggles to translate the colors of real objects seen by my eyes into a coherent system of hues and shades on paper.
Every time I flip through art books of renowned artists, I can’t help but notice that their use of colors is entirely different from those found in the real world. It seems they merely borrow real-world objects’ form and light relationships, while the colors are rendered according to their inner perception. For example, when they see a white wall on a sunny day, they know which pigments to use to express it, and if it’s a white wall on a cloudy day, they use a different set of colors. Similarly, when they encounter a bush in autumn, they know which colors to use to depict it. These systems of color translation are deeply ingrained within them, unique and invaluable abilities. Thanks to this skill, their artworks consistently reflect a distinctive personal style.
In contrast, because I lack a systematic approach to color, I find myself constantly rethinking and experimenting with color expression on the spot when faced with different scenes to paint. As a result, each painting I produce looks like it’s done by a different person. This approach of on-the-spot thinking is highly inefficient and often yields unsatisfactory results. After all, the color translations of renowned artists are the culmination of countless experiences. Why can’t I stand on the shoulders of giants and learn from their experiences instead of fumbling on my own, only to eventually give up?
I think back to the famous masters of ancient Europe, who had their own studios and disciples, collectively producing many timeless masterpieces. Surely, those disciples who later became masters themselves must have strictly adhered to their teachers’ systems of color translation in the beginning. For instance, the teacher might instruct them to use certain colors as base colors for a particular material and then add other colors for transitions or to depict warmth and coolness. This way, the disciples saved a lot of trial and error time, mastering the established color systems from the outset, and laying the foundation for their own styles in the future.
I really wish for a master who could decisively command me, telling me what colors I must use for a certain material, even if the result doesn’t exactly match the real-life object. After all, painting is not about mere replication, but rather about creating art through the combination of personal aesthetics and technical skill.