文人画和院体画的矛盾由来已久,大抵自苏轼明确提出了“士夫画”和“画工”的观点后,二者的分歧就渐趋明朗。明朝董其昌提出的“南北宗论”,拔高以文人画为代表的南宗,而贬抑以院体为代表的北宗,其理论迎合了不少文人的心思,竟成为后世攻击院体一派的主要根据,此后,文人画一派 The contradiction between the literati painting and the body painting has existed for a long time. Perhaps the disagreements between the two have gradually become clear since Su Shih clearly put forward the views of “brush painting” and “painter”. The theory of “Northern and Southern Sects” put forward by Dong Qichang in the Ming dynasty elevates the Southern Sect represented by the literati painting, and derogates the Northern Sect represented by the academy. Its theory caters to the minds of many scholars and becomes one of the later assault institutions The main basis, since then, the literati draw one school