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尽管花鸟、山水都可以作为人来画,但终究不能取代人物 画。人物画,顾名思义,必须以人物形象为表现对象,而这个人物形象又必然涉及被表现人物的阅历、性格、思想乃至行为。的确,相较于山水、花鸟画家,20世纪最重要的人物画家都不算高寿,徐悲鸿逝于58岁,周思聪绝笔于57岁,李伯安溘命于53岁。每每读及他们的画作,总会感到人物画的创作渗透了画家的斑斑血泪,因为除了人物造型和笔墨技巧的难度,人物画家还得深入到被表现人物的内心世界,与其共同体验人生与心灵的历程,而被表现对象大多是个“人物”,“人物”的生活经历总是不平凡的。从时代精神的意义上,艺术语言本身固然也渗透着时代的信息,但人物画是中国画时代精神最直接而深刻的反映是毋庸辩白的。你读《流民图》（蒋兆利,1943）,看到的是抗战时期生灵
Although flowers and birds and landscapes can be drawn as human beings, they can not eventually replace portraits. Figure painting, as its name implies, must take the person image as the object of performance, and this image of person necessarily involves the experience, character, thought and behavior of the person being expressed. Indeed, compared to landscapes, flower and bird painters, the 20th century’s most important figure painters are not longevity, Xu Beihong died at 58 years old, Zhou Sicong must have penned at 57 years old, Lee Bo-an life at 53 years old. Every time I read them and their paintings, I always feel that the creation of figure painting infiltrates the painter’s blood and tears because, in addition to the difficulty of figure modeling and brushwork skill, the figure painter has to go deep into the inner world of the expressed person and experience the life and soul together Of the course, and most of the performance of the object is a “character”, “character” life experience is always extraordinary. In the sense of the spirit of the times, the art language itself permeates the information of the times. However, figure painting is the most direct and profound reflection of the spirit of the Chinese painting. You read the “Migrant” (Jiang Zhaoli, 1943) and saw the creatures during the war of resistance against Japan