列奥那多在几百年以前就很肯定地说:“被称为灵魂之窗的眼睛,乃是心灵的要道,心灵依靠它才得以最广泛最宏伟地考察大自然的无穷作品。”这一点在后来的心理学的发展中得到愈来愈具体的肯定。视觉作为人的内心的一种最直接和最丰富的刺激,使艺术家的心理结构也自然地成为一种博大无垠、复杂尤加的研究对象。对一种创造性的心理的探究,其迷人之处是自不待言的,但是,最巨大的困难是,我们不可能去重复或再示每一种具体的心理过程。而对于美术创造的心理来说,它的独特恰恰就在于是不可逆的。即使是同一个画家,他也很难回到特定的心理状态中去,尤其是颠峰状态中的神妙境界更是稍纵即逝,遑论再现?确实,我们对复杂、微妙的创作心理的认识至今还是相当初步的。这种不相称是同我们所要依赖的主要心理学 Leonedado said with certainty a few hundred years ago: “The eye, called the window of the soul, is the heartstone of the soul, upon which the soul can find the most extensive and magnificent survey of the endless works of nature.” This is more concrete affirmation in the later development of psychology. As the most immediate and richest stimulus of human’s inner vision, the psychological structure of the artist naturally becomes a research object of vast expanse and complexity. The fascination with a creative psychology is self-evident, but the greatest difficulty is that we can not repeat or recapitulate each specific psychological process. And for art to create the psychology, it is precisely because it is irreversible. Even the same painter, he is difficult to return to a particular state of mind to go, especially in the peak state of magic is fleeting, let alone reproduction? Indeed, our understanding of the complex, subtle creative psychology It is still quite preliminary. This disproportionality is the main psychology that we rely on