13世纪末至14世纪初的元代,中国绘画进入了个人风格更为丰富和多样化的发展阶段。这时的创作主体由一批修养深厚、博通经史的儒士承担,他们具有卓越的书法技巧,并借助其作画,在作品中融入浓重的书写意味,以此来达到其所推崇的“书画同源”效果。在元代山水画领域,宋代画家主张通过格物认识自然的做法逐渐淡化,抒发个人内心感情成为画家首先面对的命题。而“米氏云山”题材颇引人注目,尽管在宋代米芾、米友仁(以下简称“二米”)父子那里,这类题材已被塑 In the Yuan Dynasty from the late 13th century to the early 14th century, Chinese painting entered a stage of development in which personal style was more abundant and diversified. At this time, the main body of creation is borne by a group of Confucian scholars who are profoundly trained and well versed in the history of the Broadcom. They possess excellent calligraphic skills and, through their paintings, incorporate the strong writing meaning in their works in order to reach their esteemed “ Calligraphy homologous ”effect. In the field of landscape painting of the Yuan Dynasty, the artists in Song Dynasty advocated the gradual desalination of nature by the way of the latticework, and expressing individual inner feelings became the first proposition the painter faced. However, the subject matter of “Mie Yunshan” is quite noticeable. Although in the Song Dynasty rice mousse and Mi Youren (hereinafter referred to as “two meters”) father and son there were such topics as plastic