中国画的创作情境,大体上有两大类型,一类是感性型的,另一类是理性型的。感性型的创作所强调的是即兴的发挥和“无意得之”,所谓“当其有事,已知遗去机巧,意冥玄化,而物在灵府,不在耳目。故得于心,应于手,孤姿绝状,触毫而出,气交冲膜,与神为徒。若忖短长于隘度,算妍蚩于陋目,凝觚舐墨,依违良久,乃绘物之赘疣也,宁置于齿牙间哉”(符载《观张员外画松石序》),其最高的境界,便是逸品,所谓“格外不拘常法”,完全没有一定的所谓“必注精以一之”,“必神与俱成之”(郭熙《林泉高致·山水训》)。其最高境界,便是神品, There are basically two types of Chinese painting creation situations, one is perceptual type and the other is rational type. The emphasis of sensual writing is improvisation and “unintentional”. The so-called “when it has something, it is known that it is clever, In the hand, the lone figure, contact with the mill out, the gas exchange film, and God apprentice .If the 忖 short length in the narrow, count Yan 蚩 in the eyes, condensate 觚 舐 ink, according to a long absence, is the object of the superfluous Wart also, rather than placed in the teeth between the zai ”(on the“ view of Zhang outside the Tamagotchi ”), the highest state is the elegant goods, the so-called“ exceptionally common law ”, there is absolutely no so-called“ essential note fine To one, ”“ God and everything will be made of ”(Guo Xi“ Lin Quan Gao Shaoshan training ”). Its highest level, is the god goods,