晁补之的画论观继承了古代特别是苏轼等人的论画精华,并有所发展:从苏轼“诗画一律”的观点出发,以“物外形”、“画中态”、“画外意”三个依次递进深入的概念进一步补充和完善了苏轼论说中“形”与“神”的关系;同时还对绘画创作主体的人格追求做出了规定,认为画家的人品胸次、道德修养和人格气质决定了绘画的生命和价值。 Chao Buzhi’s concept of painting inherits the essence of the theory of painting of ancient times, especially that of Su Shi and others. From the point of view of Su Shi’s “poems and paintings”, this painting is based on the “shape”, “painting” State “,” drawing outside “three further in-depth concepts to further supplement and improve the Su Shi’s theory of” form “and” God "relationship; at the same time also the personality of the main pursuit of the pursuit of painting Made the provision that the artist’s character, morality and personality determine the painting’s life and value.