中国传统色彩观并非局限于具象色谱的堆砌，而是蕴含“有无相生”的哲学智慧。“留白”与“计白当黑”作为核 心美学理念，将“白”从单纯的色彩属性升华为承载意境、调节节奏、传递文化精神的视觉语言。本文从传统色彩观的哲学 溯源出发，剖析“留白”与“计白当黑”的内涵特质，结合当代陶瓷、家具、茶具等器物设计案例，探讨传统色彩智慧在材 质表达、功能适配、意境营造中的传承与转化[1]。研究表明，“留白”与“计白当黑”通过虚实平衡、简繁有度的设计逻辑， 为当代器物设计注入简约之美、意境之美与文化之美，既回应了现代生活的审美需求，又实现了传统美学的当代转译，其美 学价值体现在对设计同质化的突破、对人文精神的回归以及对生态审美理念的践行[2]。

The traditional Chinese color concept is not limited to the accumulation of concrete color spectra, but contains the philosophical wisdom of "the coexistence of being and non-being". As core aesthetic ideas, "liubai" (leaving blank) and "jibaidanghei" (treating blank as black) elevate "white" from a mere color attribute to a visual language that carries artistic conception, regulates rhythm, and conveys cultural spirit. Starting from the philosophical origin of traditional color concepts, this paper analyzes the connotative characteristics of "liubai" and "jibaidanghei", and explores the inheritance and transformation of traditional color wisdom in material expression, functional adaptation, and artistic conception construction by combining cases of contemporary artifact design such as ceramics, furniture, and tea sets. The research shows that through the design logic of balanced emptiness and reality, and moderate simplicity and complexity, "liubai" and "jibaidanghei" inject the beauty of simplicity, artistic conception and culture into contemporary artifact design. They not only respond to the aesthetic needs of modern life, but also realize the contemporary translation of traditional aesthetics. Their aesthetic value is reflected in breaking the homogenization of design, returning to humanistic spirit, and practicing the concept of ecological aesthetics.