作为古典美学观,“意境”一直是中国画创作中孜孜以求的终极目的。自北宋郭熙“四可说”以降,尽管历代画家大多以画中景物具有“可行、可望、可游、可居”的“真实感”(所谓“生活气息”)作为中国画创作的普遍愿望,但从古代优秀的作品中我们不难领悟到:在再现客观对象的基础上,更体现着画家“借 As a view of classical aesthetics, ”artistic conception “ has always been the ultimate goal pursued in Chinese painting. Since the Northern Song Dynasty Guo Xi ”four can be said “ to decline, although most of the painters in the past to have ”realistic“, ”realistic“, ”realistic“ ”) As a universal desire for the creation of Chinese painting, but it is not difficult to realize from the outstanding works of the ancient times that on the basis of reproducing objective objects,