“写意”不仅是中国画的精神表现,也是中国文化在漫长的历史过程中积淀的本质精神:“写意”的形成及其表现方式,凝聚了中华民族的智慧结晶与实践成果,历代先贤为此付出了坚毅的努力和巨大的代价。艺术实践表明,“写意”作为中国画的原则与本质,体现了一种文化心理结构、思维方式和精神气质。而且惟一能贯通古今而不衰、惟一超越时空而永恒存在的,不是风格样式,不是笔墨技巧,不是题材意象,而是“写意”。“写意”作为一种精神本质的规定,它是建立在对文化传统,对人文精神最充分地理解与肯定的基础上的。在思考与创造同在的时代,愈见出中国画创作中“写意”的无比魅力和永恒的精神意义。王辅民的人物画创作正是在上述意义上体现出其美感特点与价值意义的。在中国画创作中,能否意识到“写意”的原则与本质,是关乎作品优劣高下的关键。王辅民的作品,在虚实之间、浓淡之 “Freehand ” is not only the spiritual expression of Chinese painting, but also the essence of Chinese culture accumulated in the long historical process: the formation and expression of “freehand” and the crystallization of wisdom and practice of the Chinese nation, For this purpose, the Sages paid a great deal of hard work and great price. The artistic practice shows that “freehand brushwork”, as the principle and essence of Chinese painting, embodies a kind of cultural psychological structure, thinking mode and spiritual temperament. And the only way that can penetrate the past and present without failure, the only timeless beyond the time and existence, is not the style, not the pen and ink skills, not the subject image, but “freehand ”. “Freehand ” as a spiritual essence of the provisions, it is built on the cultural traditions, the best understanding of the humanistic spirit and based on. In the same time of thinking and creating, the more attractive and eternal spirit meaning of “freehand” in Chinese painting is seen. It is in the above sense that Wang Fu-min’s portrait creation reflects his aesthetic characteristics and values. In the creation of Chinese painting, whether or not we realize the principle and essence of “freehand” is the key to the superiority and inferiority of the work. Wang Fumin’s works, between the actual situation and the darkness