在近十几年的画学研究中,“实景画”逐渐成为诸多学者关注的焦点。单国强先生在《中国古代实景山水画史略》一文中对实景画作品有较为明确的说明和界定,被许多学者予以引用。他对从魏晋到明清的实景画的发展历程进行了较为全面的整理,认为实景山水在笔墨和构图上成熟于唐朝,其写实技巧、皴法的表现,以及“图真”“师造化”等山水理论则昌盛于宋代。到了元代,实景抒情言志成了山水画表现的主要目的。明代隐逸山水、仿古山水、抒 In the last ten years of painting research, “real painting ” has gradually become the focus of many scholars. In his article “A Brief History of Ancient Chinese Scenery Landscape Paintings”, Mr. Shan Guoqiang made a rather clear explanation and definition of the real scene paintings and was cited by many scholars. He carried out a more comprehensive review of the development of the real landscape from the Wei and Jin dynasties to the Ming and Qing dynasties, believing that the real landscapes were mature in the Tang Dynasty in terms of their writing and composition, and their realistic techniques and performance, as well as " The theory of landscapes of teachers and teachers is prosperous in the Song Dynasty. In the Yuan Dynasty, real lyricism became the main purpose of landscape painting performance. Ming Dynasty seclusion landscape, antique landscape, express