潘絜兹先生是一位具有深刻理论思考的工笔重彩画家,他的《工笔重彩人物画技法》、《工笔重彩十六观》、《中国画的装饰性》、《敦煌莫高窟艺术》、《永乐宫元代壁画艺术》等一系列评论及论述,已经形成一个可观的中国画理论体系,这个体系或者可以概括为潘絜兹先生的“中国画观”。这个中国画观是以“工笔重彩”为中心词的,所以潘洯兹先生在梳理中国绘画史时,即是围绕“工笔重彩”这个线路而展开的。比如,在《97北京工笔重彩精品展作品集(序言)》中,潘絜兹先生就用概括的语言勾画了工笔重彩的发展史:“从先秦到唐宋,工笔重彩一直是中国绘画的主体,并写下了美术史上的灿烂篇章。元明以后,写意画兴起,工笔重彩遭受冷遇,跌 Mr. Pan Xizi is a painter with profound theoretical thinking. His works such as ”Meticulous Painting and Character Painting Techniques“, ”Meticulous Paintings“, ”Decorative Painting of Chinese Painting“, ”Mogao Grottoes of Dunhuang Art“ and ” A series of comments and expositions on the mural art of the Yuan Dynasty in Yongle Palace have formed a considerable theoretical system of Chinese painting. This system can be generalized as Mr. Pan Xizi’s “Chinese Painting Concept.” This concept of Chinese painting is centered on “Meticulousness ”, so when Pan Zhaizi combs the history of Chinese painting, it is based on the line of “exquisiteness”. For example, in the “97 Beijing Collection of Works” (Preamble), Mr. Pan Xizi outlined in broad terms the history of meticulous writing: "From the pre-Qin period to the Tang and Song Dynasties, The main body, and wrote a brilliant chapter in the history of art. After the Yuan and Ming Dynasties, the rise of freehand painting, meticulous and meticulous, fell