长：70cm 宽：32cm

中国人物画的造型方式其实一直是由笔墨语言的特性所决定的，而其语言上的根本问题是笔墨与造型之间去怎样衔接。纵观20世纪水墨人物画的发展，其实都曾或多或少地借鉴过花鸟和山水画已有的笔墨语言，也从两个方向上推动笔墨和体面造型之间的转换。而《牧牛图》则是这两者的集中展现。画面里牧童和水牛的形象塑造存有范曾的简洁风格，但用线上较八大多了些起点的顿挫和转折的「方」感。衣饰予以部分渲染从而对比分明，同李可染的牧童题材相比，范曾略去了配景的衬托，纯以「黑」造像，以「白」造境，更显示出了无穷极的天宇所在，也给人以无限的想象空间。

In fact, the modeling method of Chinese figure painting has always been determined by the characteristics of pen and ink language, and the fundamental problem in its language is how to connect the pen and ink with the model. Looking at the development of ink and wash figure painting in the 20th century, in fact, they have more or less borrowed the existing pen and ink language of flowers and birds and landscape painting, and also promoted the conversion between pen and ink and decent modeling in two directions. The "Cattle Cattle" is a concentrated display of the two. The images of shepherds and buffaloes in the paintings have Fan Zeng's concise style, but they use the online sense of frustration and turning "square" with a few starting points. The clothing is partially rendered to make the contrast clear. Compared with Li Keran's herd boy theme, Fan Zeng omitted the background setting, purely "black" portraits, and "white" creations, which shows the infinite universe. It also gives people unlimited imagination.