宋元以降,崇尚“萧简远淡”、讲求“逸”格(以水墨写意为主)的文人画逐渐成为中国画坛主流。在文人辈出、画家如云的明代,仇英(约1498—1552年)以精工艳丽的院体画(亦称工笔重彩画)被后世尊为“明四大家”之一和吴门画派中坚脊梁,同代书画泰斗文徵明曾以“见仇画方真画,使吾曹有愧色”~①誉之。那么,这位蜚声中外的画坛巨擘,其画作有何基本特质?如此特性的形成根由究竟何在?为此,本文拟结合仇英遗世代表画作,就其仙道思想、实现路径及学理旨趣进行初探。 The Song and Yuan dynasties advocate literary painting of “Siou Yanyong” and emphasize “Yi ” (ink and wash mainly) gradually become the mainstream of Chinese painting. In Ming dynasty, painters like the cloud, Qiuying (about 1498-1552 years) with beautiful Seiko beautiful body painting (also known as heavy tonal painting) was later honored as “one of the four” and the Wu School The backbone of the backbone of contemporary Chinese painting and calligraphy Wen Zhengming once “see the andean painting side really draw, so I have ashamed color Cao” ~ ① reputation of it. So, what is the basic characteristic of the painting giant? What is the root of such a characteristic? To this end, this article attempts to make a tentative probe into his celestial thought, its path of realization and his academic interest by combining with the representative paintings of his ancestors.