检阅中国绘画史,我们会发现明代隆庆以后的文人绘画较前期有了显著变化,且莫论别省别地,仅江苏一域,便涌现出丹徒、松江、华亭、金陵等风格各异的艺术流派,令之前独步画坛的吴门风光不再。其后,董其昌通过倡导南北宗论,不重造型、偏重笔墨趣味实践的艺术主张,渐渐得到文人的认可,达到统一画坛基本认识的目的,于江南这块传统的艺术高地上确立其领袖地位,并持续影响至清初时期,扩散范围几近全国,这是人们普遍接受的历史事实。然而,在远离东南、不近古都的岭南,与之同时或稍后,略有名气的文人画家:朱完、张萱、伍瑞隆、高俨、赖镜、梁槤、张穆、赵廷璧、赵淳夫、大汕等等,均未沾染这一充满“时尚”的艺术趋势,仍然在津津于吴门艺风,或是继承以颜宗、林良为代表的并兼顾本土环境的画风,这则是大多数人尚未意识到的。这是一个有趣和值得探索的艺术现象。 After reviewing the history of Chinese painting, we find that the literati paintings after Longqing in the Ming Dynasty changed significantly from the previous period. Moreover, we can see that there are different styles of Dantu, Songjiang, Huating, Jinling, etc. Art genre, so alone before the Wu scenery is no longer. Since then, Dong Qichang has gained the recognition of the literati by advocating the advocacy of South-North theory, non-emphasis on shape, emphasis on the artistic practice of ink and wash, and has achieved the purpose of unifying the basic understanding of the painting field. He established his leadership position in this traditional highland of arts in Jiangnan, And continue to affect the early Qing Dynasty, the proliferation of nearly all the country, which is generally accepted historical facts. However, in the south of the country far away from the southeast and not near the ancient capital, at the same time or later, some well-known literati painters: Zhu Wan, Zhang Xuan, Wu Ruilong, Gao Yan, Lai Jing, Liang Zhan, Zhang Mu, Zhao Tingbi and Zhao Chunfu, Dashan and so on, are not contaminated by the trend of art full of “fashion”. They are still relying on the art of Wumen or inheriting the style of painting represented by Yan Zong and Lin Liang and taking into account the local environment , Which most people are not yet aware of. This is an interesting and worthwhile exploration of the art phenomenon.