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".