古代人们一度将描绘鬼魅的尝试附会在“师造化”的合理公式之下。我们可以从一些离奇的绘画故事中看到,画家所图写的鬼怪形象均来自他们的亲眼所见,而非凭空虚拟。对画鬼魅的重新认识需要放到中国绘画日趋浓厚的写意倾向中来理解。传神与写意两方面兼顾,是宋代之后的文人们讨论“鬼魅”作品的基本准则。画家们假借鬼魅来进行艺术表现,抒发强烈的情感,彰显其他题材中难以激发的气势。 Ancient people once described the attempt to portray ghosts under the “rationalization of teachers,” under the reasonable formula. We can see from some bizarre painting stories that all the ghosts and painters pictured by the painters come from what they see and see, not from the sky. The re-understanding of the ghosts of painting needs to be understood in the freehand tendency of Chinese painting. Both the expressive and the freehand are the basic norms that the literati after the Song Dynasty discussed the work of “ghosts”. Painters use ghosts to perform artistic expressions, express strong emotions, and demonstrate the imposing manner in other topics.