在中国绘画美学史上,宋代人物画审美理论大大发展了前人的思想,包含十分丰富的美学内容。以李公麟、石恪、梁楷、等人为代表的人物画家群星璀璨,尤其是梁楷在隋唐人物画的基础上进一步解放了笔墨,他引领的人物画写意美学精神被认为具有重要的里程碑意义。梁楷人物画美学风格溯源两宋的人物画家在吸取魏晋南北朝和隋唐五代以来的美学成就的基础上,创造出更富时代特色的作品。若论写意人物画真正的滥觞,学界观点大都赞同始于梁楷。梁楷那极富创意的“减笔”风格在中国 In the history of Chinese painting aesthetics, the aesthetic theory of figure painting in Song Dynasty has greatly developed the thoughts of the predecessors, including a very rich aesthetic content. Character painters such as Li Gong-lin, Shi Ke, Liang Kai and others are bright stars. In particular, Liang Kai further liberated ink and brush on the basis of the portraits of the Sui and Tang Dynasties. His aesthetic portraitism inspired by portraits was considered as an important milestone. Liang Kai Traceability of Aesthetic Styles of Figure Painting Based on the aesthetic achievements of the Wei, Jin, Northern and Southern Dynasties and the Sui, Tang and Five Dynasties, the figure painters in the Song and Song Dynasties have created works that are more epoch-making. If on the freehand portraits of portraitism, most scholars agree that starting with Liang Kai. Liang Kai that very creative “pen” style in China