“春来江水绿如蓝,能不忆江南?”此刻,重度雾霾的北京更撩拨着人们对于江南春意的思绪。江南如画,但令人神往的江南,却不入画。这是画画圈子里的一句私房话。当然,董源的《潇湘图》,黄公望的《富春山居图》、倪瓒的《渔庄秋霁图》,乃至明清众多太湖流域的山水画家们所描绘的江南,不仅入画,而且创造了中国文人画最高的审美典范。当然,他们笔下的江南无一例外都滤除了色相,纯以水墨浓缩了那片水天一色的世界,不仅色相归于那片水性的恬淡,而且文人之画的笔精墨妙也超越了视觉真实的再现,江南早在他们的笔下化为生机,变 “Spring green river, such as blue, can not remember Jiangnan?” At the moment, the Beijing hail of severe smoldering people Jiangnan Chunyi thoughts. Jiangnan picturesque, but fascinating Jiangnan, but not into the painting. This is a private painting in the circle of words. Of course, Dong Yuan’s “Xiaoxiang Map”, Huang Gongwang’s “Fuchun Habitat Map” and Ni Kui’s “Qiu Zhuang Qiu Tu”, and even the many landscape artists in the Ming and Qing Dynasties, depict Jiangnan not only in painting but also in China Literati painting the highest aesthetic model. Of course, without exception, they all filter out the hue, with pure ink and water to condense the piece of water and sky in the world, not only the color phase of the tranquil wateriness, and the literati’s penmanship goes beyond the visual reality Reproduction, Jiangnan early in their pen into vitality, change