六朝之后,中国画的发展,无论是理论建树,还是表现内容以及笔墨形式,都极其完善成熟了,尤其唐宋时代,画家的笔墨修养更是到了一个空前的高度。“惜墨如金”作为中国画的一句学术成语,虽然文字记录始于北宋山水画家李成,但它的形成与确立一定早于北宋。晋代顾恺之画人物有时数年不点睛,就是在传递一种惜墨精神。我认为“惜墨如金”不单是一句学术成语,它代表了中国绘画所独有的一种美学观念,发展到现在,已经成 After the Six Dynasties, the development of Chinese painting, both theoretical achievements, as well as the performance of content and the form of ink and brush, are extremely sophisticated maturity, especially in the Tang and Song Dynasties, the painter’s penmanship is even more unprecedented height. As an academic idiom in Chinese painting, although the written records began with Li Cheng, a landscape painter in the Northern Song Dynasty, its formation and establishment certainly preceded the Northern Song Dynasty. Gu Kai’s paintings in the Jin Dynasty sometimes blindfold for years, is to convey a spirit of cherishing the ink. I think “cherish the ink such as gold ” is not only an academic idiom, it represents a unique concept of Chinese painting aesthetics, until now, has become