明代遗民的相关研究中,其书画作品的寻觅、甄别、研究从来都是问题,而能书善画的遗民作家并不在少数,书画的创作往往是他们抒怀、交友、逃禅、生计的媒介与手段。由此,几乎可以撰写出一部“遗民艺术史”。这是普遍的存在事实。但并不是每一位遗民作家的墨迹风貌及其遗存都是流传有绪、清晰可辨的,故而有一些相关研究又会因此而搁置或终止。比如,对冒襄的研究如此,对方以智的研究也是如此。明季四公子的传世墨迹几乎处在极其严重的缺档甚至空白状态。以笔 In the related studies of Ming dynasty descendants, the search, screening and research of their calligraphy and painting works have always been problems, and there are no fewer writers who are good writers. The creation of calligraphy and painting is often the medium of their expression of love, friendship, escapism and livelihood means. As a result, it is almost possible to write a “legacy art history.” This is a widespread reality. However, not every surviving writer’s ink style and its remnants are well-documented and legible. Therefore, some related studies will be shelved or terminated accordingly. For example, the research on the draft so, the other intellectual research is also true. The passing of the fourth son of the Ming Dynasty ink almost in the absence of a very serious shortage or even blank. With pen