“以迹破象”是钟孺乾先生在《绘画迹象论》中提出的观点。他认为文人画开辟的审美趣味和迹象技巧中“破”这一概念从墨、色、水的相互渗透和冲撞的技法含义转移到了整个画面的迹象交融的局面。油画创作中,艺术家把色彩、笔触等形成的迹放在画面整体中去反复整理和调配的这一过程是对“以迹破象”最好的回应。本文阐述了“迹”与“象”的概念,并结合自己的实践分析和研究“以迹破象”与油画诸因素的关系。 “To trace the broken image ” is Mr. Zhong Kugan in the “painting signs theory” in the point of view. In his opinion, the concept of “broken” in the aesthetic taste and signs and skills developed by literati painting shifted from the meanings of the mutual penetration and collision of ink, color and water to the blending of signs in the whole picture. In the process of oil painting creation, the artist’s process of finishing and adjusting the trace formed by colors, brushstrokes and the like in the entire picture is the best response to “breaking the mark.” This paper elaborates the concepts of “trace ” and “image ”, and analyzes and studies the relationship between “traces of broken traces” and the factors of painting in combination with their own practices.