“势”是中国绘画中的重要概念。“势”的形成,来源于对物象的观察。以自然之“道”的观念指导创作,自会“形势出矣”。中国绘画有其特殊的观察方法和思维方式。在“天”与“地”、“象”与“法”的矛盾对立中,于无形中生有形。远取其势,近取其质,画家在创作中,对“势”作了完整的总结。从绘画章法上讲,“势”表示画面物象的运动趋势。从形象上,有欲高欲下之势,有仰俯之势,有奔腾飞跃之势。东晋顾恺之提出“置陈布势”的要求。梁萧绎所撰《山 “Potential ” is an important concept in Chinese painting. “Potential ” formation, from the observation of the object. Guided by the concept of nature “Tao ”, from the “” situation. Chinese painting has its own special observation methods and ways of thinking. In the contradiction between the “day” and “the earth”, the “image” and the “law”, they are virtually invisible. Far from its potential, the recent access to its quality, the artist in the creation of “potential” made a complete summary. From the perspective of the painting chapter, “potential ” said the image movement trend. From the image, there is desire for high potential, there is tendency to look down, there Pentium leaps of the trend. Gu Kai in the Eastern Jin proposed “set Chen cloth potential ” requirement. Liang Xiao Yi wrote "Hill