“写意”一词在中国艺术中使用得比较普遍,甚至是混乱。谈到写意艺术,人们总习惯于把随意、率性、粗放、简约等艺术形象联系在一起,或者把写意当作和工细一路相对的艺术来看待。单从表现技巧上这看本无可厚非,写意艺术确实具有简略、随性、粗率的特征,确也与工细艺术大相径庭,然而这仅是从艺术表层的技法层面来看待,并未真正理解写意艺术的内涵,这种肤浅的认识在艺术领域是普遍存在的。刘曦林在《谈写意与写意精神》一文中也有类似的看法,他说:“人们提起写意来往往把它当作与工笔相对应的概念,就是说把粗笔或简笔画法的表现形式 ”Freehand “ is used more commonly in Chinese art, even chaos. When it comes to freehand art, people are always accustomed to associating artistic images of randomness, quickness, extensiveness, simplicity, or the like, or treating artistry as the opposite of artifice. It is understandable from the perspective of performance techniques that the art of freehand writing does indeed have the characteristics of simplicity, adaptability and boldness. It is indeed very different from art of fine arts. However, it is only viewed from the technical level of the art surface and does not really understand the art of freehand art Connotation, this superficial understanding in the field of art is ubiquitous. Liu Xilin also has a similar view in his article ”On Freehand and Freehand Spirit.“ He said: ”People often use it as a concept that corresponds to fine workmanship, meaning that the form of a rough or simple stroke