荆浩在论面中提出:“画者,画也。度物象而取其真。物之华,取其华,物之实,取其实。若不知术,苟似,可也,图真不可及也。”似者,得其形遗其气,真者,气质俱感。荆浩用一个“似”与“真”引导我们从深层次上来探讨有关山水画创作的标准。“似”追求物象外在的表象,即所谓的“媚形”是也;“真”追求物象内在的气质和神采,即所谓的“得元”是也。然而,似与真在这里有着重要的差别,同时它也揭示了绘画创作中的一个“形”与“神”的问题。我国传统绘画从来就讲求形象的真实,画不能没有形,没有形就不成为画,绘画是造型 Jing Hao put forward in the discussion: “Painter, painting also. Degree of things and take its truth. The things of China, whichever is Chinese, the truth of things, take the facts. And also. ”Like, get its shape, true, temperament are feelings. Jing Hao uses a “like” and “true” to guide us from a deep level to explore the standards of landscape painting. “Like” the pursuit of the appearance of the external image, that is, the so-called “pro-form” is also true; “true” pursuit of the intrinsic qualities and appearance of objects, the so-called “dollar” is also. However, there seems to be an important difference between true and false. At the same time, it also reveals the issue of a “form” and a “god” in painting. China’s traditional painting has always stressed the true image, painting can not no shape, no shape is not a painting, painting is the shape