工笔画的“意”在四个层次:一是“写其意蕴”;二是重视“象外之意”;三是强调主观抒发;四是善于将意象与笔墨的审美性完美结合,讲究笔意与空白的有机结合、虚实相生,讲究意蕴含蓄的传递。对于中国工笔画的写意性这一问题,在创作之初,工笔画作者对其考虑得较少,更多地是关注描绘对象的准确与否,也就是形似的问题,还无法顾及到形神兼备。随着创作经验的积累、审美取向的提高,形似已无法解决创作中多元素需求,这就自然把目光转向了中国画的另一重要表现形式——写意画,企图从中发掘并利用其精华。其实,中国工笔画的写意性一直伴随着中国绘画历史进程而发展。“写意”是相对“工笔”而言的。虽然“工笔画”这个概念与称谓在中国绘画史上出现较晚,是对应“写意画”而产生的专用名词,此前也无写意画之说,但在中国画发展历史中,工笔画扮演着 The second is to pay attention to “the meaning of the image”; the third is to emphasize the subjective expression; the fourth is to be good at the aesthetic image and the ink and brush The perfect combination of sex, pay attention to the combination of meaning and the blank, the actual situation, pay attention to implicit transfer of implication. As to the freehand brushwork of Chinese strokes, at the beginning of creation, the workers of the strokes paid less attention to it, and more concerned about the accuracy of depicting the objects, that is, the similar problems, Both. With the accumulation of creative experience and the improvement of aesthetic orientation, the appearance of the same can not solve the multi-elemental needs in the creative process. This naturally turns our attention to another important manifestation of Chinese painting - freehand painting in an attempt to discover and utilize its essence. In fact, the freehand brushwork of Chinese painting has been accompanied by the historical development of Chinese painting. “Freehand ” is relative to the “fine brush” in terms of. Although the notion and title of “Chinese painting” appeared later in the history of Chinese painting and was a special noun corresponding to “freehand painting”, there was no previous impression of freehand brushwork. However, in the history of the development of Chinese painting, Plays