本文通过个案考证,发掘南北宗理论的建构者董其昌生活时代的绘画鉴藏语境,指出晚明时期江南知名鉴藏家依据各自鉴藏经验与审美取向自觉进行画史建构的历史事实,以及当时绘画鉴藏活动中“以禅喻画”语汇的普遍使用。提出晚明绘画鉴藏家这种对绘画史的自觉梳理与以禅喻画的鉴赏语境,推动了董其昌南北宗理论的确立与完善。 This article explores the historical context of painting history of Dong Qichang’s life time through the case study and the historical fact that the well-known collectors of Jiangnan in the late Ming Dynasty conscientiously carried on the history of painting history according to their own experience of sampling and aesthetic orientation, Painting in the collection of activities in the “Zen Yu painting” language universal use. It is proposed that the late Qing dynasty painting connoisseurs who conscientiously comb the history of painting and appreciate the context of Zen painting promote the establishment and improvement of Dong Qichang’s theory of South and North.