在漫长的习画过程中,“以形写神”我早已耳熟能详,但真正领会其中深刻的含义,却是在近些年油画创作的实践中。我们在绘画中经常会遇到这种苦恼:造型虽然严谨但却缺少感染力。其实,这里最主要的原因是未把“传神写照”作为我们绘画创作的灵魂。自从东晋画家顾恺之提出“传神写照”的观念后,“以形写神”的理论及方法就得以流传并沿用至今。我们知道,顾恺之所说 During the long process of painting, “I used to describe God,” I have long been familiar with, but I really understand the profound meaning of it. However, it is in the practice of oil painting creation in recent years. We often encounter this distress in the painting: the style is rigorous but it lacks appeal. Actually, the most important reason here is that “vivid portrayal” is not taken as the soul of our painting creation. Since the proposition of “vivid portrayal” put forward by the painter Gu Kai in the Eastern Jin Dynasty, the theory and method of “describing God” has been circulated and still in use today. We know, Gu Kai said