我认为水墨人物画的造型妙在“似与不似之间”。首先创作者要了解中国水墨人物画的历史,此外还要了解来自西方绘画的影响、工具材料的改进、书法对中国画的影响等等。中国画不会走抽象的路,至少不是主流,但也不是具象写实。水墨人物画一定要画成写意的,无论用笔快慢都有道理。李可染用笔厚重行笔很慢,黄宾虹用笔浑厚华滋多为慢行笔,而黄胄用笔却是疾风暴雨式的,讲究速度即是力量,但他们都画出了优秀作品。用笔的不同,源于画家的 In my opinion, the style of ink painting is wonderful between “likeness and notness.” First of all creators should understand the history of Chinese ink figures, in addition to understand the impact from the Western painting, improvement of tools and materials, calligraphy on the impact of Chinese painting and so on. Chinese painting will not take the abstract path, at least not the mainstream, but it is not a realistic image. Ink and wash painting must be drawn into a freehand brushwork, regardless of pen speed is justified. Li Kebang used pen thick heavy pen is very slow, Huang Binhong brush thick Huazi mostly slow pen, and Huang Zhi pen is a stormy, pay attention to speed that is power, but they have drawn a good work. Different from the pen, from the painter’s