绘画题跋的写作特点与观赏行为有密切关系。在题跋写作时，观赏者的观赏行为，直接决定了题跋文本书写的顺序、文本中各元素的组织与组合。题跋文字的组织既是一个线性过程，又具有即时性。在注视绘画的一瞬间，观赏者已经对画面中的一切作出了"选择"，而题跋又用文字对注视的结果进行了第二次选择，并呈现了这种"选择"。宋代的人物画题跋首先关注的是人物的逼真程度，而山水画在题跋作者眼中则更重在整体气势和格局，题跋作者的观感间或缺失，却又从另外三个方面营构了题跋内容，有时，观赏者的形象也直接呈现于题跋中，题跋塑造了观赏者与观赏对象——画作之间的关系。

The writing of painting inscriptions is closely related to the action of appreciating. The process of the appreciating directly determines the writing order as well as the organization and combination of the elements in inscription writing. Organizing words for an inscription is both linear and instantaneous. At the moment of watching a painting, the viewer has made a "choice" among everything in a painting, and the author of an inscription uses the text to make a second choice among the results of appreciating and present this second "choice". In the Song Dynasty, an inscription of a character painting was mainly focused on the realistic degree of the characters, while an inscription of a landscape painting was more focused on the overall momentum and pattern of the painting. Sometimes an author ignored his perceptions and created the inscription from three other aspects. Sometimes the image of the viewer is also directly presented in the inscription, in which sense the inscription has shaped the relationship between the viewer and the painting.