畫龍點睛（huàlóng-diǎnjīng）
比喻文學藝術創作中在緊要處著墨或寫出關鍵性的詞句，以創造出最奇妙的神韻和意境來。
孟子認為，觀察一個人，最好觀察他的眼睛，因為眼睛最容易表露一個人內心的善良和醜惡。東晉顧愷之畫人物，曾數年不肯輕易下筆點睛。他強調人物傳神之關鍵在於畫出眼神。南朝畫家張僧繇（yao）繪畫技術高超，傳說他曾為畫好的龍點上眼珠，龍即刻騰空而去。故後世用「畫龍點睛」強調文學藝術創作中應抓住要訣，使形象更加生動傳神。
The term is a metaphor about giving the finishing touch, which means providing critical details or key words in an artistic or literary work in order to lend it charm and aesthetic conception.
Mencius believed that when observing a person, one should look directly into his eyes because the eyes reveal his nature, be it good or evil. When painting portraits, Gu Kaizhi in the Eastern Jin Dynasty did not add pupils to the eyes in haste. He stressed that the key to painting a vivid portrait lied in painting the eyes. Zhang Sengyao, a painter of the Southern Dynasties, was well known for his excellent painting skills. Legend has it that his painted dragons flew into the sky as soon as he finished their pupils. The term is thus used by later generations to underline the importance of applying critical touches to add life and charm to a literary or artistic work.
【引例】
又金陵安樂寺四白龍，不點眼睛，每云：「點眼即飛去。」人以為妄誕，固請點之，須臾雷電破壁，兩龍乘雲騰去上天，二龍未點眼者現在。 （張彥遠《歷代名畫記》卷七） （[ 張僧繇] 在南京安樂寺牆壁上畫了條白龍，他沒有給龍點上眼睛，常說：「點上眼睛，龍立刻就會騰空飛走。」人們都認為他的話荒唐虛妄，一再請他點上眼睛，[ 張僧繇只好提筆點睛，] 即刻天空雷電交加，兩條龍乘雲騰空而去，而另兩條沒點眼睛的龍還留在牆壁上。）
【CITATION】
Zhang Sengyao painted four white dragons on the wall of the Anle Temple in Nanjing. But he did not paint pupils to their eyes, saying that once he did, the dragons would fly into the sky. People considered his words absurd and repeatedly urged him to add pupils to the dragons』 eyes. He eventually did it on two of the four dragons. Suddenly, lightning and thunders struck, and the two dragons with pupils added to their eyes flew into the clouds. The other two remained on the wall.