工笔画与写意画,若以表现方式和技法而论,一为巧密而精细,一为简易而意全;倘就审美取向而言,前者为尽其精微,后者重抒写意态。尽管元以来文人画的兴盛曾使得评判的标准与发展的重心向写意偏移,但整体看来,工笔和写意确是中国传统绘画中并行不悖的两条主线——虽然在很多时候,它们是以一种平行线的方式在进行。如果绕开两者在概念上的相对性,也无谓材质、技法的区分,而从绘画本身所表达的意趣来看,是否会出现 Fine brushwork and freehand brushwork, if expressed in terms of modes of expression and techniques, are clever and elaborate, and they are simple and complete, while in the case of aesthetic orientation, the former is subtle and the latter rewrites the state of mind. Although the popularity of literati painting since the Yuan Dynasty has deflected the focus of criticism on standards and development, on the whole, the fine brushwork and the freehand brushwork are two main lines that go hand in hand in Chinese traditional painting - although in many cases they are based on A parallel line approach is in progress. If we bypass the concept of the relative nature of the two, but also unnecessary material, the distinction between techniques, but from the interest of the painting itself, will appear