中国画讲究诗书画印的综合效果,这种讲究不仅仅来自画面的形式需要,更来自所绘作品内涵表达的需要,所以有能耐的画家都会在题款的时候极尽能事,以促进画面与款题的和谐统一,即所谓题画艺术。然而,古人作画本来并无款题,甚至连作者的姓名都不题于画幅之内,那时的作法与后来的油画署款甚为相似。清代钱杜在他的《松壶画忆》中说:“画之款识,唐人只小字,藏根石罅,大约书不工者,多落纸背。至宋始有年月记之,然犹是细楷一线,书无两行者。唯东坡款皆大行楷,或有跋语三五行,已开 Chinese painting emphasizes the comprehensive effect of painting, calligraphy and painting. This kind of stress not only comes from the need of the form of the picture, but also from the expression of the connotation of the painted work. Therefore, the capable painter will do his best to make the picture Harmony and unity of the title, the so-called title painting art. However, there was no title for the ancients’ paintings, and even the name of the author was not in the frame of the painting. At that time, the practice was very similar to the subsequent painting commission. In the Qing Dynasty, Qian Duo said in his ”Songhu Painter’s Memory“ that: ”The paintings of the Chinese characters are only small in the Tang Dynasty, However, there are still two lines of the book.