常玉是20 世纪旅法华裔艺术家中极具代表性的人物，其粉色时期（20 世纪20—30 年代）是他艺术生涯中风格成熟、 语言纯粹、意境独特的黄金阶段。本文以常玉粉色时期油画为研究对象，结合其生平境遇、艺术语境与文化背景，分析该阶 段的题材特征、形式语言与美学内涵。常玉的粉色时期作品以低饱和度粉色为主调，结合简约流畅的书法性线条与空灵留白 的构图方式，形成兼具西方现代主义形式美感与中国文人画写意精神的独特面貌。粉色在其作品中不仅是视觉色彩，更是代 表了常玉当时心境、情感与文化身份的多重隐喻，承载着温柔的诗意与含蓄的孤独。本文认为，常玉粉色时期将东西方艺术 的特点自然融合，为跨文化艺术创作提供了重要范式，在20 世纪中西艺术交流史上具有不可替代的价值与意义。

As a representative figure among 20th-century Chinese artists living in France, Sanyu’s Pink Period( roughly from the 1920s to the 1930s) represents a golden phase in his artistic career, marked by mature style, pure visual language and distinctive artistic conception. This paper takes Sanyu’s oil paintings from his Pink Period as the research subject, and analyzes the thematic features, formal language and aesthetic connotations of this stage by integrating his life experience, artistic context and cultural background.Works from Sanyu’s Pink Period are dominated by low-saturation pink tones, combined with concise, fluent calligraphic lines and compositions featuring ethereal blank space, creating a unique artistic style that embodies both the formal beauty of Western modernism and the freehand spirit of Chinese literati painting. In his works, pink is not merely a visual color, but a multi-layered metaphor reflecting his state of mind, emotions and cultural identity at that time, carrying gentle poetry and reserved loneliness. This paper argues that Sanyu’s natural integration of Eastern and Western artistic characteristics during his Pink Period has provided an important paradigm for cross-cultural artistic creation, possessing irreplaceable value and significance in the history of Sino-Western artistic exchanges in the 20th century.