军旅美术人物画以写实人物绘画为中心和立足点,通过“以形写神”来表现当代革命军人的特征和精神品质的一种艺术形式。“以形写神”的概念早在东晋时代,就被画家及绘画理论家顾恺之在其《魏晋胜流画赞》一书中提出。顾恺之也并非首创之人,往前追溯,先秦时期就有了“以形写神”这一理念雏形,经过历朝历代美术家的丰富探索,“以形写神”这一要义得到广泛认同。到了近现代,“以形写神”得到军旅美术家们的高度重视和运用,极大地推动了军旅美术的发展。本文试从当今时代特征和军旅美术现状出发,探讨“以形写神”之意义:在当今艺术高度繁荣的历史时期,军旅美术必须以新的姿态和思维,在坚守“以形写神”这个艺术高地的同时,还应继续注重向西方艺术传统学习,向中国艺术传统与现实学习,处理好传承与创新的关系,以此不断推进军旅美术的繁荣发展。 Military art portraits draw on realist figures as the center and standpoint, through the “to describe God” to show the characteristics and spiritual qualities of contemporary revolutionary soldiers in an art form. As early as the Eastern Jin Dynasty, Gu Kaizhi, an artist and a theorist of painting, put forward the concept of “likeness in writing”. Gu Kaizhi is also not the first person to go back in time. In the pre-Qin period, there was a prototype of the concept of “writing God”. After years of rich exploration of artists in various Dynasties, “getting God by writing” Widely accepted. By modern times, the military artists and artists have received great attention and use of “Describing God”, which has greatly promoted the development of military art. This article tries to explore the characteristics of the contemporary era and the status quo of the military art of military affairs and to explore the significance of “depicting gods”: In the historical period when art is highly prosperous, military art must adopt a new attitude and thinking, At the same time, we should continue to pay attention to the study of western art tradition, study the relationship between tradition and reality of Chinese art, and handle the relationship between inheritance and innovation so as to continuously push forward the flourishing development of military art.