摹仿说是与表现说相对立的关于艺术起源和艺术本质的学说。该学说认为，艺术根源于对现实世界的摹仿和再现，艺术本质重在再现。摹仿说强调艺术要以现实生活为蓝本，要追求艺术的真实性，要用生活本来形式反映生活的本质，这就为艺术发展提供了坚实的基础，促进了现实主义艺术思潮的繁荣，尤其是古典艺术的繁荣。但摹仿说过分强调艺术的形似，难免将艺术引入自然主义的死胡同。
The fountain of art thinking in the Chinese culture sources in the mode of take in images and symbols from viewing which comparing to Plato's Theory of Imitation that centered on Idea, bring about the recognition of "Self" and "Other".
观物取象是中国艺术思维的滥觞,通过与以柏拉图“理式”为核心的摹仿说为代表的古希腊艺术起源理论的参照比较,达到对“自我”与“他者”的再认识。
参考来源 - 《易传·系辞》“观物取象”试探·2,447,543篇论文数据，部分数据来源于NoteExpress
柏拉图的文艺思想包括如下三个方面：摹仿说，效用说和灵感说。
Plato's thoughts consist of three aspects: the theory of imitation, the theory of effectiveness and the theory of inspiration.
流行的观念认为中国古代文论重抒情重表现，似乎不讲“摹仿”，摹仿说仿佛只是西方的专利。
It is a prevailing idea that the classical Chinese poetics emphasized only lyricism and representation while neglecting mimesis; mimesis seems to be the patent owned by the Western.
是黑格尔继康德之后，从其“美是理念的感性显现”的哲学、美学思想出发，认识到传统摹仿说的弊端，进而反对摹仿说，提出新观点。
Hegel recognized the drawbacks about the theory of imitation and opposed it, putting forward new viewpoints from his thought that Beauty is the perceptual appearance of ideas after Kant.
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