以速写的观看及其绘画语言重构为研究对象，从两者的概念、相关图像和经典作品的分析入手，提出建立整体的、触觉和涂绘的、比较的三种观看方式的必要性；以观念为指引，探讨绘画语言重构在营建画面的形式和形式品质中的作用，是基于视觉艺术形式原理对绘画最终的表达，其本质与时代观念的衍变密切相关。同时梳理了西风东渐以来中国现代绘画发展过程中受到的西方艺术思潮的影响，艺术观念在不同历史阶段呈现出复杂的面貌。并通过对代表性艺术家忻东旺的“以神写型”和冷军涂绘式绘画语言展开深入剖析，提出二者精研传统又都在西方造型体系上自觉发生了偏离，发展并构建了多元化的绘画语言形式。整合上述观点，最后以作者的速写实践，进一步印证文章对观看以及构建画面形式和秩序的论述，强调体验自然对象带给我们的内心感受及作品蕴含的精神品格。研究不仅对速写具有一定的理论指导和实践提升，同时对艺术创作具有普遍的参鉴作用。
With sketch viewing and its painting language reconstruction as the research object, the paper, starting
from the analysis of their concepts, related images and classic works, puts forward the necessity of establishing three
viewing modes: holistic, tactile and painted, and comparative mode. Guided by the concept, it discusses the role of
painting language reconstruction in building the form and form quality of the picture, which is the ultimate expression of painting based on the principle of visual art form, and its essence is closely related to the evolution of the
concept of the times. Meanwhile, the author combs the influence of western art trend on the development of modern
Chinese painting since the beginning of the west-to-east trend, and the complex features of artistic concepts in different historical stages. Through an in-depth analysis of the representative artist Xin Dongwang's "painting presenting the spirit" and Leng Jun's painting language, it is proposed that both of them have had a deep understanding of
the traditions and have also consciously deviated from the western modeling system to develop and construct a diversified painting language form. Finally, the author's sketch practice further confirms the paper's discussion on
viewing and constructing the form and order of the picture, emphasizing the inner feelings brought by experiencing
natural objects and the spiritual character contained in the works. The study not only has a certain theoretical and
practical guidance for sketching, but also provides reference for general artistic creation.
