在绘画领域里，虚实是任何艺术家在具体创作过程中都会运用到的一种艺术创作方式。不管是西方传统写实主义，还是野兽主义、立体主义、表现主义、抽象主义等现代各流派，无论其艺术主张及具体的表现形式如何都有一个共同点，那就是运用虚实处理方式对画面形象进行主观的创作，同时加入个人的情感、艺术理念及审美取向，以期使绘画作品成为一种表现艺术家主观意念的产物，强调“有我”。随着艺术家主观情感宣泄要求的愈加强烈，画面形式由 “完形”到“变形”，甚至发展到“无形”，完成了从具象到抽象的蜕变。当艺术作品的画面形式逐步递进到纯抽象的“无形”时，一些艺术家们开始对这种创作方式进行重新的思考。20世纪60年代末70年代初首先在美国兴起的照相写实主义，用绘画的手段对照片信息进行纯客观转述，他们不再停留在对画面形象进行虚与实的处理，而是处处写“实”，消除画面的主次关系，强调“无我”为“虚”，即竭力虚隐、摒弃个人的一切痕迹，纯客观再现现实世界。这种独特的创作方式对虚实进行了全新的诠释。本文试图对照相写实主义绘画的 “虚实”创作方式进行分析解读并探析其意义。文章主要是通过对照相写实主义艺术主张的了解及作品呈现面貌的解读，分析照相写实绘画中的“虚”与“实”，结合接受美学的“空白”观强调观者在作品最终完成过程中的重要性，阐释照相写实主义中的“无我”与绝对“真实”的“虚实”手法，能使作品的表达更具观念性。

In the field of painting, the actual situation any artist will be applied to specific creative process of artistic creation. Western tradition of realism and Fauvism, Cubism, Expressionism, abstract, modern genre, no matter how artistic ideas and specific manifestations have in common, that is, the use of the actual situation approach the screen image subjective the creation of, at the same time to join the personal the emotional, art philosophy and aesthetic orientation of, that they are in order to the period to make painting works to become the  a manifestation of the product of the subjective ideas, of the artists, that the stressed that that have my ". With the requirements of by the artists subjective emotional give vent to their become even more intense, screen the form of by the  "Gestalt" to the "deformation", even the development of to the "intangible", the completion of a ranges from the a concrete to the abstract metamorphosis. When the O'clock the screen of the works of art the form of gradually progressive to the pure abstract "intangible", a number of artists have begun to pairs of the this kind creation way carried out the re-Thinking of. The late 1960s, early 1970s, first in the United States and the rise of photographic realism, purely objective means of painting, photo information relayed that they no longer stay in the screen image of the virtual and real, but everywhere to write "real to eliminate the primary and secondary of the screen, emphasizing the "no" to "virtual", that is trying to virtual implicit, get rid of all traces of the individual, pure objective representation of the real world. This unique creation on the actual situation of the new interpretation. This paper attempts to analyze the photographic realism of the "actual situation" creative ways to interpret and Analysis of the significance of. The article is mainly present the face of the interpretation through the understanding of the artistic ideas of the photographic realism and works, analyzing the photo-realistic painting of "virtual" and "Real", combined with the aesthetics of "blank" concept stresses the process of final completion of the viewer in the works importance to explain the "actual situation" means "no" absolute "real" Photorealism, enabling expression of the work is more conceptual.