中国山水画的萌芽、发展是由于人们与大自然自觉接触的结果,是人们对大自然关照所产生的的一种特殊寄情形式,是自然与人相互作用的特殊产物,并且逐渐形成了一套系统的审美理论,这种理论体现出了人们在认识自然的过程中审美理念不断深入和革新的痕迹。作为后学,如何找到一条适于自身绘画艺术发展的思路是极其关键的问题。本文通过对古人先贤流传的文献资料,结合近现代画家、理论家的研究成果进行分析、搜理和研究,着重从写生与创新的关系方面进行探讨在世界美术大融合的格局中,在新的、多理念的审美变化中,作为民族性的中国山水画的发展与创新的探求中,以继承先贤们“师造化”的创新精神,通过在写生中培养创新意识的理念不失为一条可行之路。 The germination and development of Chinese landscape painting is the result of conscious contact between nature people and people. It is a special kind of relationship form people take care of nature and is a special product of the interaction between nature and human and has gradually formed a set of system Aesthetic theory, this theory reflects the people in the process of understanding the aesthetic concept of continuous deepening and innovation traces. As an afterthought, how to find a way of thinking that is suitable for the development of its own painting art is an extremely crucial issue. Based on the literature of the ancients’ prequel, combining with the research results of modern painters and theorists, this article focuses on the relationship between sketching and innovation. In the pattern of world art integration, In the quest for the development and innovation of national Chinese landscape painting, in the creative change of multi-concept, in order to inherit the innovative spirit of the ancestors and teachers, and cultivate the concept of innovation consciousness in sketching, it is a feasible way .