中国画的写意造型，展示的是似与不似之间、寓意于象、以象尽意“心物统一”的意象。
What revealed in modeling of Chinese painting is an artistic result of a likeness in spirit rather than in appearance, embodying the meaning in images.
在“似与不似”之间给人以“似人非神”的感受。
This ambiguity between likeness and unlikeness gives us a feeling of not being divine but human.
它的关键在于“似”与“不似”之间“度”的把握。
The key to it lies in the assurance of "degree" during "like" and "not like".
汉画像石画像砖夸张、变形、象征、装饰的手法以求神似，在形的处理上丰富了水墨画造型在“似与不似”之间广阔的空间的选择。
With the method of exaggeration, distortion, symbolic and decorative, Han portrait stones and bricks enriched the choice of wide space in Chinese brush drawing.
汉画像石画像砖夸张、变形、象征、装饰的手法以求神似，在形的处理上丰富了水墨画造型在“似与不似”之间广阔的空间的选择。
With the method of exaggeration, distortion, symbolic and decorative, Han portrait stones and bricks enriched the choice of wide space in Chinese brush drawing.
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