写意精神是中国画的重要特性,现代画坛对于它的谈论往往围绕着写实与写意展开。五四运动以来,美术理论界曾就中国画是现实主义的还是浪漫主义的,是写实的还是写意的,展开过长期争鸣。鉴于徐悲鸿在中国现代画坛上的重要地位,其人其画常常成为论战的焦点,甚至有人提出由于徐悲鸿倡导写实主义,阻碍了中国现代美术的发展。然而,我们若是将徐悲鸿的思想加以归纳与研析,就会发现他在上世纪20年代到40年代已经对这一问题有了清醒的认识,而且越是到后来,其见地越是成熟与系统,其思想内核对于当今美术界理解中国画写意精神的形成机制仍具 The spirit of freehand brushwork is an important feature of Chinese painting. The discussion of modern painting circles focuses on its realistic and freehand style. Since the May 4th Movement, art theory circles have been realistic or romantic about Chinese painting, realistic or freehand, and started long-term debate. In view of the important position of Xu Beihong in the modern Chinese painting circles, the paintings of his people often become the focus of debate. Some even argue that since Xu Beihong advocated realism, it hindered the development of modern Chinese fine arts. However, if we summarily analyze and analyze Xu Beihong’s thinking, we will find that he had already had a clear understanding of this issue in the 1920s and 1940s, and the more he became acquainted with the system later , The inner core of thought still has a mechanism for understanding the freehand brushwork of Chinese painting in today’s fine arts world