“形”与“神”是中国画论中两个基本的概念。自东晋顾恺之提出“以形写神”后,这一理论便成为后世中国画创作的原则之一。后历代论家,各有己见。至宋代,苏东坡提出了“神似”论,对神的要求更高一层,促进了文人画的大发展;明清时出现了“三足鼎立”,即明莫是龙的“形似”论,明徐青藤、清石涛等的“神似”论,以及清王时敏的“形神兼备”,从历代“形”与“神”之间的关系,对目前的国画发展可做出一些分析。 “Form” and “God” are two basic concepts in Chinese painting theory. Since the introduction of Gu Kai-zi in Eastern Jin Dynasty to “describe God”, this theory has become one of the principles for the creation of later Chinese paintings. After all generations of theorists, each has his own opinion. In the Song Dynasty, Su Dongpo put forward the theory of “godlikeness” and asked for a higher level of God and promoted the great development of literati painting. In the Ming and Qing Dynasties, there appeared the “tripartite confrontation” , Qing Shitao’s “similar” theory, and Qing Wang Shimin’s “form and spirit”, from the relationship between the “form” and “God” in the past, the current development of Chinese painting can make some analysis.