自古以来,中国的,外国的,东方的,西方的,在每个历史时期,都有各家各派,关于审美意识,文艺观方面的争鸣,常是周而复始,争辩不休。但是争来争去,不外是主体与客体,精神与存在的相互关系而已。这个问题,确实是探究文化艺术的美学之道。中外文化也就在这个问题上,认识,取舍,侧重有差,形成了各自的美学观,成为不同的文化体系。本人不是理论家,不一一阐述,本文着重谈中国画的“写意”观方面,谈谈个人的拙见。 Since ancient times, China, foreign countries, the East, and the West have each and every faction in its history. The contention on aesthetic awareness and literary concept is often repeated and endlessly debated. However, the struggle for contention is nothing but the interrelationship between subject and object, spirit and existence. This question is really the aesthetic way to explore culture and art. On this issue, Chinese and foreign cultures also have their own aesthetic concepts and different cultural systems. I am not a theorist, not elaborate, this article focuses on the concept of “freehand” view of Chinese painting, talk about personal humble opinion.