清代画家石涛在《苦瓜和尚语录》中有段很精彩的论述:“墨非蒙养不灵,笔非生活不神,能受蒙养之灵而不解生活之神,是有墨无笔也;能受生活之神而不变蒙养之灵,是有笔无墨也。”道出了写生是绘画中的一个重要的训练的过程。无论我们去临摹,还是去创作,时刻都与写生分不开。临摹后,如果不去写生,即使临摹得再精确、形象,也是缺乏生活气息,使之作品失去生命得意义。写生中使我们更加明白继承传统的重要性。历代大师所遗留的表现手法,以及表现形式,都为我们在写生中提供了描绘自然的手段,这就使我们更加重视传统。同时我们在写生中寻求自我创造的切合点,时代不同、环境的变化,这样在写生中我们根据现有的材料来表现自我的感受,从而创新。所以,作为一个从事绘画的艺术人,应该把写生足够重视起来,到写生中不断的去挖掘自己的潜力。 Qing Dynasty painter Shi Tao in the “bitter gourd Quotations Quotations,” a very wonderful exposition: “Mo Fei is not restless, pen non-life is not God, can be baptized spirit and life god, there is no ink Pen also; can be affected by the god of life without changing the spirit of being, there is no ink pen. ”Road to sketching is an important training in the process of painting. Whether we go to copy, or to create, always inseparable from the sketch. After copying, if you do not go to sketching, even if the copying is accurate, the image is also lack of life breath, making the work lose its meaning in life. In the sketchbook, we are more aware of the importance of inheriting the tradition. The techniques of expression and expressions left over from the masters of the past have provided us with a means of depicting nature in the sketchbook, which gives us more emphasis on tradition. At the same time, we seek to meet the needs of self-creation in the sketching, different times and environmental changes. In this way, in the sketching, we express our own feelings based on the existing materials and innovate. Therefore, as an artist engaged in painting, we should pay enough attention to sketching and continue to tap our potential in sketching.