书法是传统文人画的根柢和核心,这是中国古代绘画在经历了几千年的发展后,到北宋才真正确立起的基本价值预设,它使中国古代绘画开始摆脱工匠式的技术程式的非文人化性质,而与书法、诗构成三位一体模式,绘画成为『文之余』,并由此成为文人的专利。站在这个立场看董其昌的绘画南北宗论,我们似乎才能真正认识到董其昌潜藏的史学动机:排除绘画的非文人化因素,抑制绘画的纯技术因素和非表现因素,强调气韵、直觉——真正能运用直觉并上升到气韵高度的画家非文人画家莫属。董其昌认为:『这种风格的画优于北宗风格的画,因为后者是理性的而非直觉的,更拘泥于细节,表现的只是事物的表面联系,而不是精神表现实质。在他看来,一幅真正好的作品,不应拘泥于细节的描绘。』(列文森《儒教中国及其现代命运》书法无疑为文人画的这种价值追寻提供了近乎完美的基点。书法的抽象性、表现性,时空运动特征以及书法所拥有的文化道统性(书法在古代地位远高于绘画),皆为文人画的价值预设提供了中心内容。从北宋开始,文人画摈弃 Calligraphy is the root and center of the traditional literati painting. This is the basic value preset that was really established in the Northern Song Dynasty after the development of ancient Chinese paintings for thousands of years. It has enabled ancient Chinese paintings to start to get rid of artisanal techniques Non-literary nature, but with the calligraphy, poetry form a Trinity model, painting become “Yu Yu”, and thus become the literati’s patent. From this position, we can see Dong Qichang’s latent historical motivation: to exclude the non-literati factors of painting, to suppress the pure and non-expressive factors of painting, and to emphasize the rhyme and intuition Can use the intuition and up to the height of the artist non-literary painter. Dong Qichang said: “This style of painting is superior to Beizong style paintings because the latter is rational and not intuitive. It is more specific about details and represents only the superficial connections of things, not the spirit of substance. In his opinion, a really good piece should not be rigidly portrayed in terms of detail. (Levinson’s Calligraphy of ”Confucian China and Its Modern Destiny" undoubtedly provides a near-perfect starting point for this value pursuit of literati painting.The abstraction, expressiveness, characteristics of space-time movement and the cultural integrity of calligraphy Calligraphy in ancient times is much higher than the painting), all of which provide the central content for the value presupposition of the literati painting.