马远山水画中的“黑”“白”二色是辩证统一的，是其山水画意境形成的重要因素。本文以其代表作品为分析对象， 以“边角构图”的空间经营与“破墨”法的墨色表现为切入点，深入探讨马远如何通过“黑”“白”二色构建出虚实相生、 氤氲朦胧的“空蒙”画境。

The "black" and "white" in Ma Yuan's landscape paintings are in a dialectical unity, which is an important factor in the formation of the artistic conception of his landscape paintings. This article takes his representative works as the object of analysis, and starts from the spatial arrangement of the "corner composition" and the ink color expression of the "broken ink" method, to deeply explore how Ma Yuan constructs the "empty and hazy" artistic conception with the interplay of "black" and "white".