一“神似”是一切文艺所追求的高超境界,尤以国画为典型。《淮南子》最先提出绘画中形神关系,认识到神似的重要性。东晋顾恺之在论人物画时提出“以形写神”,并阐明了“悟对”、“通神”、“迁想妙得”这个“以形写神”的创作构思过程。“悟对”指观察对象而悟其精神特质。“通神”是对象的精神特质融会贯通于画家的心中。“迁想”就是把已通之神与作者的“想”(即形象思维,艺术构思)结合,推敲琢磨。“妙得”则是艺术构思成熟,产生灵感,胸有成竹。写神的主张被推广于山水花鸟画及书法,成为普遍原则。“气 A “similar” is the pursuit of all the superb art, especially traditional Chinese painting as a typical. Huainanzi first proposed the relationship between the gods and gods in the painting and realized the importance of godlikeness. Gu Kaizhi in the Eastern Jin Dynasty put forward the idea of ​​“writing God” in his portraits of characters and expounded the creative conception of “writing God”, ie, “Wu Wu”, “Tong Shen” and “Qian Miao Miaode”. “Wu-hui” means observing the object and realizing its spiritual characteristics. “Tongshen” is the object of the spiritual characteristics of masters through the painter’s heart. “Imagination” refers to the combination of the “thoughts” (ie, the thinking of the images and the artistic ideas) of the already passed god and the author, which are refined and refined. “Wonderful” is the art of mature ideas, inspiration, be prepared. The idea of ​​writing God was promoted in the landscape flowers and birds painting and calligraphy, a universal principle. "gas