“工笔画需有写意性”的提法并不符合工笔画的历史发展逻辑,更难成为今后发展的必然走向。这种提法从根本上讲,是一种对传统理解的片面性和狭隘的民族主义情结所造成的。文章从工笔画的概念界定和历史脉络入手,厘清工笔画与写意性的关系,同时以动态发展的眼光,阐述现代工笔画复兴以来在当代语境下的衍生形态及其审美意识转变,并追溯其根由。 “Brushwork should be freehand ” is not consistent with the formulation of the history of the strokes, more difficult to become the inevitable trend of development in the future. This formulation is fundamentally a result of the one-sidedness of traditional understanding and the narrow nationalist complex. The article starts from the concept definition and history of work strokes, and clarifies the relationship between strokes and freehand style. At the same time, with the dynamic development, this article expounds the derivation form and the change of aesthetic consciousness under the contemporary context since the rejuvenation of modern strokes. The root cause.