画与西洋画相比有着自己独特的特征，还表现在其艺术手法、艺术分科、构图、用笔、用墨、敷色等多个方面。按照艺术的手法来分，画可分为工笔、写意和兼工带写三种形式。工笔就是用画笔工整细致，敷色层层渲染，细节明彻入微，用极其细腻的笔触描绘物象，故称“工笔”。而写意呢？相对“工笔”而言，用豪放简练的笔墨描绘物象的形神，抒发作者的感情。它要有高度的概括能力，要有以少胜多的含蓄意境，落笔要准确，运笔要熟练，要能得心应手，意到笔到。兼工带写的形式则是把工笔和写意这两种方法进行综合的运用。
Compared with Western painting, Chinese painting has its own unique characteristics, but also in its artistic techniques, art division, composition, pen, ink, color and other aspects. According to the artistic way, Chinese painting can be divided into three forms: fine brushwork, freehand brushwork and part-time writing. Meticulous brush is to use the brush neat and meticulous, layers of color rendering, detailed and penetrating, with extremely delicate brush strokes to depict the image, so called "meticulous brush". And freehand brushwork? Relative to "meticulous writing", we use bold and concise brushwork to depict the form and spirit of images and express the author's feelings. It should have a high degree of generalization ability, to have a less than more implicit mood, to write accurately, to be skilled in writing, to be handy, to the point. The form of concurrent writing is to integrate the two methods of meticulous writing and freehand brushwork.
从艺术的分科来看，画可分为人物、山水、花鸟三大画科，它主要是以描绘对象的不同来划分的。而画中的畜兽、鞍马、昆虫、蔬果等画可分别归入此三类。
From the point of view of art, Chinese painting can be divided into three major painting subjects: figure, landscape, flower and bird. It is mainly divided by the different objects depicted. The animals, animals, pommel horses, insects, fruits and vegetables in Chinese paintings can be classified into these three categories.
画在构图、用笔、用墨、敷色等方面，也都有自己的特点。画的构图一般不遵循西洋画的黄金律，而是或作长卷，或作立轴，长宽比例是“失调”的。但它能够很好表现特殊的意境和画者的主观情趣。同时，在透视的方法上，画与西洋画也是不一样的。透视是绘画的术语，就是在作画的时候，把一切物体正确地在平面上表现出来，使之有远近高低的空间感和立体感，这种方法就叫透视。因透视的现象是近大远小，所以也常常称作“远近法”。西洋画一般是用焦点透视，这就像照相一样，固定在一个立脚点，受到空间的局限，摄入镜头的就如实照下来，否则就照不下来。
Chinese painting also has its own characteristics in composition, pencil, ink and color. The composition of Chinese paintings generally does not follow the golden rule of Western paintings, but either for long scrolls, or for vertical axis, the ratio of length to width is "imbalance". But it can well express the special artistic conception and the subjective interest of the painter. At the same time, in the perspective of perspective, Chinese painting is different from western painting. Perspective is the terminology of painting, that is, when painting, all objects correctly displayed on the plane, so that it has a sense of space and three-dimensional high and low, this method is called perspective. Because the phenomenon of perspective is very large and far away, it is often called the "far and near law". Western paintings usually use focus perspective, which is like photography, fixed in a foothold, subject to the limitations of space, intake of the lens on the real photo down, otherwise can not be photographed.
画就不一定固定在一个立脚点作画，也不受固定视域的局限，它可以根据画者的感受和需要，使立脚点移动作画，把见得到的和见不到的景物统统摄入自己的画面。这种透视的方法，叫做散点透视或多点透视。如我们所熟知的北宋名画、张择端的《清明上河图》，用的就是散点透视法。《清明上河图》反映的是北宋都城汴梁内外丰富复杂、气象万千的景象。它以汴河为中心，从远处的郊野画到热闹的“虹桥”；观者既能看到城内，又可看到郊野；既看得到桥上的行人，又看得到桥下的船；既看得到近处的楼台树木，又看得到远处纵深的街道与河港。而且无论站在哪一段看，景物的比例都是相近的，如果按照西洋画焦点透机的方法去画，许多地方是根本无法画出来的。这是的古代画家们根据内容和艺术表现的需要而创造出来的独特的透视方法。
Chinese painting is not necessarily fixed in a foothold painting, nor is it limited by the fixed horizon, it can be based on the painter's feelings and needs, so that footholds move to paint, the visible and invisible scenery intake of their own picture. This perspective is called scatter perspective or multi-point perspective. As we are familiar with the famous paintings of the Northern Song Dynasty, Zhang Choi-duan's "Qingming Shanghe Tu," is the use of scattered perspective. The riverside map of the Qingming River reflects the rich and complex scenes of the capital of the Northern Song Dynasty. It centers on the Bian River, from the distant country paintings to the bustling "Hongqiao"; the viewer can see both the city and the countryside; the pedestrians on the bridge and the boats under the bridge; the terraces and trees in the vicinity, and the streets and harbors in the distance. And no matter which section you stand on, the proportion of the scenery is similar. If you draw according to the method of Western painting, many places can not be drawn at all. This is a unique perspective method created by ancient Chinese painters according to the needs of content and artistic expression.
在用笔和用墨方面，是画造型的重要部分。用笔讲求粗细、疾徐、顿挫、转折、方圆等变化，以表现物体的质感。一般来说，起笔和止笔都要用力，力腕宜挺，中间气不可断，住笔不可轻挑。用笔时力轻则浮，力重则饨，疾运则滑，徐运则滞，偏用则薄，正用则板。
In the use of pen and ink, it is an important part of Chinese painting. Use pen to stress the changes of thickness, severity, frustration, turning point and square circle to show the texture of objects. Generally speaking, starting and stopping the pen should be vigorous, the wrist should be stiff, the middle of the gas can not be broken, the pen can not be lightly lifted. When the pen is lighter, the wind is lighter, the heavier is the ton, the disease is slippery, the slow moving is stagnant, the partial is thin, the positive is the plate.
要做到曲行如弓，直行如尺，这都是用笔之意。古人总结有勾线十八描，可以说是画用笔的经验总结。而对于用墨，则讲求皴、擦、点、染交互为用，干、湿、浓、淡合理调配，以塑造型体，烘染气氛。一般说来，画的用墨之妙，在于浓淡相生，全浓全淡都没有精神，必须有浓有淡，浓处须精彩而不滞，淡处须灵秀而不晦。用墨亦如用色，古有墨分五彩之经验，亦有惜墨如金的画风。用墨还要有浓谈相生相融，做到浓中有淡，淡中有浓；浓要有浓与次浓，淡要有稍谈与更淡，这都是画的灵活用笔之法。由于画与书法在工具及运笔方面有许多共同之处，二者结下了不解之缘，古人早有“书画同源”之说。但是二者也存在着差异，书法运笔变化多端，尤其是草书，要胜过绘画，而绘画的用墨丰富多彩，又超过书法。笔墨二字被当做画技法的总称，它不仅仅是塑造形象的手段，本身还具有独立的审美价值。
To bend the line like a bow and walk straight as ruler, this is the meaning of pen. The ancients summed up the eighteen lines of hook line, which can be said to be an experience summary of Chinese painting. As for the use of ink, it stresses the interaction of chamfering, rubbing, dotting and dyeing, and the reasonable mixing of dry, wet, thick and light, so as to shape the shape and dye the atmosphere. Generally speaking, the beauty of using ink in Chinese painting lies in the combination of thick and weak, the whole thick and light have no spirit, must have thick and light, the thick must be wonderful and not stagnant, the light must be beautiful and not obscure. With ink as color, ancient ink has five color experiences, and there is also a painting style that cherishing ink as gold. Ink also need to have a strong talk with each other, so that thick in light, light in thick; thick to have the most thick and secondary thick, light to have a little talk and more light, this is the flexible use of Chinese painting brush. Because Chinese painting and calligraphy have much in common in terms of tools and brushwork, they formed an indissoluble bond, and the ancients have long said that "calligraphy and painting have the same origin". But there are also differences between the two. Calligraphy, especially cursive calligraphy, is better than painting, and the use of ink is more colorful than calligraphy. The two characters of brush and ink are regarded as the general term of Chinese painting techniques. It is not only a means to shape images, but also has independent aesthetic value.
画在敷色方面也有自己的讲究，所用颜料多为天然矿物质或动物外壳的粉未，耐风吹日晒，经久不变。敷色方法多为平涂，追求物体固有色的效果，很少光影的变化。
Chinese paintings also have their own emphasis on color, the use of natural minerals or animal shell of the powder, wind and sun resistance, unchanged for a long time. The coloring method is mostly flat coating, which pursues solid color effect and seldom changes light and shadow.
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