伴随着对文人士大夫“抒情言志”、“遣兴寄情”的表达欲望和美轮美奂的笔墨技巧的追求,中国画逐渐走向一种僵化的象征程式。“仿”和“摹”不仅取代了画家对笔墨语言规律性的探索,而且取代了中国画的写生和创作,并且成为评判艺术水平高低的惟一标准。康有为在《万木草堂藏画目》中这样形容中国画创 With the pursuit of literary and literary gentry’s “lyricism”, “despising affection” and the pursuit of magnificent pen and ink skills, Chinese painting gradually moves towards a rigid symbolic program. “Imitation” and “G” not only replace the artist’s exploration of the regularity of the language of pen and ink, but also replace the sketching and creation of Chinese painting and become the only criterion for judging the artistic level. Kang Youwei described the Chinese painting creation in “Wanmucaotang”