本文以吴永良先生为西泠印社百年华诞创作的两幅主题作品《社结西泠纪百年》与《西泠印社先贤图》为研究对象， 通过对比二者在色彩运用上的差异，来分析先生创作中色彩与主题阐释之间的关系，并在此基础之上分析先生的创作观和色 彩观。本文认为，两幅作品从“以彩为彩”到“以墨为彩”的转变，并非简单的技法调整，而是先生基于对创作主题的深刻 理解，为实现主题精神所作出的智慧选择。吴永良先生的创作实践，展现了中国画在色彩运用方面从“状物”到“铸境”的 功能演进，为理解色彩在中国画中的作用提供了参考示例。

As such, this paper takes two themed works "Commemorating a Century of Xiling Seal Engraving Society" and "Portraits of the Pioneers of Xiling Seal Engraving Society", which were produced by Mr. Wu Yongliang for the centenary celebration of Xiling Seal Society, for research object.By comparison of the differences of color application of their two artworks, it comes to an understanding of the association of color and meaning interpretation in Mr. Wu’s works, and then further makes interpretation of his views on artistic creation and color based on this point.The viewpoint of this study is that the transition from 'using colours as colours' to 'using ink as colours' in the two works is not just a matter of technical change, but is the artistic choice made by the artist on the basis of his profound awareness of the creative theme to express the spirit of creative theme. Mr.From Wu Yongliang’s practice, it can be seen that the function of application of colour in traditional Chinese painting from ‘depicting shapes’ to ‘forging artistic conception’ have undergone functional evolution, thus offering a reference case for understanding the Role of color in traditional Chinese painting.