中国绘画史上有关“神”与“逸”之辩由来已久,两者在美学品评中的列位次序之变亦如历史之大潮,此起彼伏、潮起落。自东晋顾恺之首倡“传神”论,到南齐谢赫“六法论”之“气韵”说;从唐初李嗣真最早在绘画批评中提出“逸品”这一概念,到朱景云对“逸品”画的定义;再及北宋黄休复明确提出“逸、神、妙、能”四品等第的 The debate about the relationship between “God” and “Yi” in the history of Chinese painting has long been debated. The changes in the order of the two in the category of aesthetic appreciation are also the tide of history. Since the beginning of the Eastern Jin Dynasty, Gu Kai’s advocacy “Expressiveness ” theory, to the Nancy Sheikh “Six Law ” “charm ” said; from the early Li Si in the early Tang Dynasty paintings put forward the concept of The definition of “Espresso” painting; and the Northern Song Dynasty Huang Hsiu-fu explicitly put “Yi, God, wonderful, to” the fourth grade