自元代以来,由于统治阶级的钳制政策,国画中的人物画一直处在非主导地位中延续发展,画家们只能在螺壳中耍大刀,人物画的功能退化为肖像画,隋唐时期的自信、开放、富丽、宏大面貌全然没有了,更不用说像宋时的《清明上河图》那样经典的作品问世。可见没有宽松的学术环境,即便有咬定青山不放松的精神,也难有长成参天大树的机会。 Since the Yuan Dynasty, due to the restraint policy of the ruling class, the figure painting in traditional Chinese painting has been continuously developing in the non-dominant position. The painters can only play bold spells in the shell, and the function of figure painting degenerates into portraits. Self-confidence in the Sui and Tang dynasties , Open, gorgeous, grand appearance completely gone, not to mention like the Song Dynasty “Qingming Riverside” as classic works come out. It can be seen that there is no loose academic environment, and even if there is a spirit of insisting that Aoyama does not relax, it is hard to grow into a giant tree.