南齐谢赫谈绘画六法,将“传移模写”放在六法之末,显然,谢赫并不将临摹等同于创作。中国书画以师傅带徒弟的形式传承,但自古以来讲究的是笔法的授受,以及面对面的口传心授与全身心的体悟。“临摹”则只是诸多书画学习方法之一。然而从明清以来,“临摹”的位置被不断提升。特别是最近的书画界,各种临帖展、临摹高研班、临摹范本层出不穷,临摹获得了书画史上前所未有的至高地位。临摹果然是中国书画学习的不二法门吗?临摹在今天的书画创作中到底 Nancy Sheikh talked about the six paintings and put the “transfer model writing” at the end of the six laws. Obviously, Sheikh did not equate copying with creation. Chinese calligraphy and painting in the form of master apprentice inheritance, but since ancient times the emphasis is on the pen and writing, as well as face-to-face oral heart and body comprehension. “Copy ” is only one of many painting and calligraphy learning methods. However, since the Ming and Qing Dynasties, the position of “copy” has been continuously improved. In particular, the recent painting and calligraphy circles, all kinds of temporary posts and exhibitions, copycrossing high-class classes and copying copycats are emerging in an endless stream and the copying has won the unprecedented high status in the history of calligraphy and painting. It really is a copy of the Chinese painting and calligraphy the only way to do it? Copy in today’s painting and calligraphy in the end