中国人物画是起源于“助人伦、成教化”的封建时代,历代王朝设“明堂”或“凌烟阁”为开国功臣造像、彪炳他们的功勋,嗣后发展为大规模的寺庙壁画。唐代张彦远所著《历代名画记》中有:“图画者有国之鸿宝,理乱之纪纲。”是对当时人物画面貌的评价。两宋山水花鸟画发展成熟以后,人们的审美情趣起了变化,助人伦、成教化的劝善目的逐渐让位给陶情养性的审美职责。早在南齐时期谢赫的“六法”中就在其首位提出“气韵生动”,“气韵”之说确立了一个概括笼统的审美标准、排斥了唯形而画的审美情趣,把“气韵”作为一种绘画高境界来追求。晋代著名画家顾恺之素有“画龙点睛”之美称,他作人物画先不点眼睛,有人问他为什么,他回答:“哪可点睛,点睛便语”。为 Chinese portraits originated in the feudal era of “helping the beings and becoming enlightened.” The ancient dynasties set up “Ming Tang” or “Lingyin Pavilion” as the founding fathers and made great contributions to their exploits. Later, they developed into large-scale temple mural paintings. In the Tang Dynasty, Zhang Yanyuan’s “Famous Paintings in Various Dynasties” include: “The Chinese Painters’ Gui Bao, Righteousness and Disorder” is an evaluation of the appearance of the figures. After the development of the landscape paintings of both Song and Song Dynasties mature, the aesthetic taste of people has changed, helping the benevolent, educated persuasion purpose gradually give way to Tao Qing nourishing aesthetic duty. As early as the Sixth Law of Sheikh in the Nan Qi period, it proposed in its first place that “vivid charm” and “charm” stated a broad standard of aesthetic standards, excluding the aesthetic taste of the only form and the painting, A painting of high realm to pursue. Gu Kaizhi, a famous painter in the Jin Dynasty, was known as the “finishing touch”. As a forerunner, he asked people why he did not answer the question. for