中华绘画,源远流长。山水画自五代荆、关崛起,再变而为高古深厚。北宋诸家,董源墨气苍郁,李成墨色精微,范宽好作崇冈密林,米氏云山,满纸淋漓。诸家各有所长,内在却偏重南宗。南渡之后,笔尚细润,色主青绿,院体画盛行,又马、夏以简率之笔启后世疏秀之风,合南北二宗为一道,山水画于是又一变。修史者,飞短流长,历史只在描述中匆匆辗转,真正的意趣还当在原迹直面、古典氤氲中不断揣摩。但每有世事人间的巨大变故,必然催发艺坛之异。人们总习惯在大变故之后,洞观文化的迁徙,体察人心的好善,蕴积艺 Chinese painting goes back to ancient times. Landscape painting since the Five Dynasties Jing, Guan rise, and then change into a high and ancient deep. The Song dynasties Zhu, Dong Yuan ink mellow, Li Cheng ink subtle, Fan Kuan good Chonggang Jungle, Mie Yunshan, full of paper dripping. Each has its own strengths, but the emphasis is on the South. After Nandu, pen still fine, the main color of green, body painting prevailed, and horse, summer to the simple style of future earth Shu Xiu wind, together with the two north and south as a landscape painting is another change. History, who flew short, history only hastily removed from the description, the real interest should be in the original straight face, the classic shy constantly figured out. However, every great change in the world must inevitably lead to different artistic circles. People are always accustomed to the great changes in the later, the cultural perspective of migration, people’s goodness and goodness, Yun-Yi Yun