一国家不幸诗人幸画到沧桑意自工明末清初,在天崩地裂的改朝换代过程中,文人士大夫在国破家亡之后,将无限的感伤和不尽的忧愤都表现在自己的诗文书画中。无论是在新的政权中为官者如王铎、吴梅村,还是以逸民自居者傅山,或是超脱尘世于青灯古佛中度余生者如八大山人。他们在生命的终结之际,无一不是带着无限的悲悯而化为尘土的。分析一下那个时代的画家们的命运,大概有三种情况。第一种是在明朝为官者继续在清廷任职,如王铎、吴伟业、程青溪。 Unfortunately, a poet in the country painted the vicissitudes of life. From the late Ming Dynasty to the early Qing Dynasty, during the dynastic landslide, the literati and priests were bound to show their sentiments and endless indignation in their paintings and calligraphy . Whether in the new regime, officials such as Wang Tudor, Wu Meicun, Fu Shan, or Haining, or the rest of his life, such as Badashanren, spend the rest of his life in the ancient lanterns of Qing Lan. At the end of their lives, they were all turned into dust with infinite compassion. Analyze the fate of painters of that era, there are about three cases. The first is the government officials in the Ming Dynasty to continue serving in the Qing court, such as Wang Duo, Albert Wu, Cheng Qingxi.