造型对中国人物画的发展起着至关重要的作用,以往在我们的创作经历中大多进行的是写实性创作。追溯历史,由于时代的需要,以徐悲鸿、蒋兆和等为代表的画家。他们主张用西方的造型观念来改造传统人物画,将人物画由传统型推向现代型。直至今时,随着经济的发展,高科技的影像设备的广泛应用,一方面为艺术家收集素材提供了方便,另一方面对我们的艺术创作也产生一些影响。使一些艺术家过分依赖电子设备,错把画照片当成目的,不自觉被动的被照片牵制,于是就产生了“照片造型”。中国画的审美追求是意向表现,似与不似之间的神趣。“不似之似”是中国人物画“意象”造型观的本质特征,是中国画的民族特色之一,符合中国人的审美要求和认识习惯。本文通过对中国人物画的“意象”与“写意”的浅析,使得人物画家充分借鉴和吸收西方艺术的精髓,从而使当代人物画随着时代的发展得到扩展与创新。 Modeling plays a crucial role in the development of Chinese figure painting. In the past, most of our creative experiences were made of realistic writing. Trace back to history, due to the needs of the times, painters represented by Xu Beihong, Jiang Zhaohe and others. They advocate the use of Western styling concepts to transform the traditional figure painting, the figure painting from the traditional to the modern type. Until now, with the development of economy, the wide application of high-tech imaging equipment has facilitated the collection of materials by artists on the one hand, and has also had some impact on our artistic creation on the other. So that some artists over-reliance on electronic equipment, wrong to draw pictures as a goal, unconsciously by the photos to contain, so it produced “photo modeling ”. The aesthetic pursuit of Chinese painting is the performance of intent, like and not like between the gods. “Similarity Similarity ” is an essential characteristic of Chinese figure painting “Imagery ” modeling concept. It is one of the national characteristics of Chinese painting and conforms to Chinese aesthetic requirements and cognitive habits. By analyzing the “” and “freehand ” of Chinese figure painting, the figure painter fully draws on and absorbs the essence of western art, so that contemporary figure painting can be expanded and innovated with the development of the times.