本文以绘画实际创作为基础，详细阐明了创作过程中所产生的多方面的思 考。绘画中的“表象记忆”构建于每一张作品之中，无论作品是抽象、表现还 是写实的，好的作品都具有不同的图式语言，能在某种程度上反映出创作者的 本心世界，所以更不该为了形式而形式，那样的表象是虚伪的，无法让人与之 共鸣。其次，重构与提炼后的语言是基于创作者的所思所感，需要从多角度有 理有据的展现“美”。 本文通过对叔本华《意志与表象的世界》与贺加斯《美的分析》的解读， 从表象记忆的建构原理到图像语言的传递，而最终展示出笔者的创作实践，都 分步骤拆解了原理与过程，还原了创作中对画面问题的思考。笔者在绘画创作 开始之前从方法论里提取经验，逐步分析自己的创作目的，取最为适合的画面 呈现效果，并结合情感表达的具体内容，而进行了系列的水彩创作。艺术创作 有千变万化的绘画表现形式，但究其本因都存在着作者认为的“主观合理性 ”， 它是理性与感性的结合，同时也是个人的发挥与创造。本文希望能为与笔者一 样的艺术创作者提供一条清晰的、可供参考的、切合实际的绘画创作模式，并 在提供一定理论依据的基础上，再做一些水彩绘画实践上的步骤参考。 归根结底，问题回到创作者面前，首要矛盾并不在创作形式的“变 ”或者 “不变 ”，笔者认为专属于创作者的想法不应该被任何创作手法而束缚，关 注点还是应着眼于画面效果与创作者的想法中，不应舍本逐末为了新而新。艺 术作品就是一面镜子，倒映出创作者的所思所悟，每一位观者都会有不同的感 触与见解，或认同或矛盾，一切主观的产物无不勾勒出“人的灵魂之美”。

This article concludes by discussing the author's watercolor creation ideas, and elaborates on the various thinkings generated in the creative process.First of all, the thinking of "image memory", no matter whether the work is abstract, expressive or realistic, the image language of painting should be in line with the intention and purpose, rather than the form for the sake of form, such appearance is hypocritical and cannot make people resonate with it.Secondly, the language after reconstruction and refinement is based on the creator's thoughts and feelings, and it also needs to consider the display of beauty from all aspects.Through the interpretation of Schopenhauer's "The World of Will and Image" and Hogarth's "Analysis of Beauty", from the construction principle of image memory to the transmission of image language, and finally settled in the author's creative practice, the principle and process are disassembled step by step, and the thinking of the picture problem in the creation is restored.Before the beginning of painting creation, the author extracts experience from the methodology, gradually analyzes his own creation purpose, takes the most suitable picture presentation effect, and combines the specific content of emotional expression, and carries out a series of watercolor creation.Art creation has ever- changing forms of painting expression, but its origin is "rationality", which is a combination of rationality and sensibility, and at the same time, the play and creation of individuals. This article hopes to provide a clear, reference, practical painting creation mode for the same artists as the author, and on the basis of providing certain theoretical basis, do some watercolor painting practice steps reference. In the final analysis, the problem comes back to the creator, in the face of "change" or "unchangeable", which is not the primary contradiction. The author thinks that the idea belonging to the creator should not be bound by any creative method. No matter whether the new is innovative, the focus should be on the picture effect and the idea of the creator, not to abandon the original for the sake of the new.