明清写意仡鸟画的写意造境是由笔墨结构中各种笔墨形态的组合排列及其落实过程来呈现的,各自所造之境的差异性也表明了画家个体借助特定的笔墨结构去状物与写心,去不断深入认识、实现自我存在价值的过程。沈宗骞《芥舟学画编》云:万物不一状,万变不一相,总之统乎气以呈其活动之趣者,是所谓势也。论六法者首曰气韵生动,盖即指此所谓笔势者,言以笔之气势,貌物之体势,方得谓画。笔墨结构之具有感染力的核心实际上在于笔意、结构与笔法三者在运动中的统一——即“笔势”。勾法(勾勒)、点法(点簇、点虱)作为意笔花鸟向中花、叶、枝笔墨形态生成过程的基本笔法,是写意仡鸟画的主要技法语言之一。单个勾点笔势运动形成的“一笔”造型既可表现形又可体现意韵,其中包含笔法的笔意与精神情感 In the Ming and Qing Dynasties, the freehand birdie painting of the freehand bird painting is presented by the combination and arrangement of various brushstrokes in the structure of brush and ink, and the differences between the two created by each artist. Material and writing, to continue to deepen understanding, to achieve the process of self-existence value. Shen Zongqian “mustard school painting series” cloud: all things are different, ever-changing phase, in short, all gas indifferent to their activities, is the so-called potential also. On the first of the six law is vivid charm, cover that refers to the so-called gestures, words to the momentum of the pen, physical appearance of the body, side was that picture. In fact, the core of the ink-and-ink structure is the unity of movement, structure, and brushwork - that is, the “gesture”. As the basic method of the morphogenesis process of flowers, leaves and branches, it is one of the main technical languages ​​of the freehand scroll painting. The formation of a single hook gesture movement “a ” shape can be both expression and rhyme, which contains the pen meaning and emotional emotion