与禅宗同,中国山水画自唐始亦有南北二宗之分,南宗一超即入,北宗积渐方成。一超即入者尚渲淡,以气韵生动为神,萧条淡泊,流变而成文人画;积渐方成者重笔墨,讲求骨法皴擦,雄奇磅礴,浸渐而成作家画。周志超的笔墨山水介于二者之间,没有北宗断崖绝壁之惊魂,亦无南宗平阔淡远之曼妙,却自成体系,别具神韵——山不在高而厚,林不在深而茂,朴素率意,温润厚实,清爽俊秀,不激不厉。 Similar to Zen Buddhism, Chinese landscape paintings have two divisions of South and North China from the very beginning. A super-immediater is still pale, with vivid charm for the god, depression indifferent, changing into a literati painting; plot gradually square those who heavy ink, stress bone method rub, magnificent, gradual immersion and writers. Zhou Zhichao pen and ink landscape between the two, there is no cliff of the cliffs of the North Zongsi, nor Nanzongping wide graceful, but its own system, unique charm - the mountains are not high and thick, the forest is not deep Mau, simple rate, warm moist, refreshing handsome, not insubordinate.