初唐李嗣真论书,提出了“逸品”说,但没有详细的解释,后元和年间的朱景玄又提出了绘画上的“神、妙、能、逸”四品,当时被列为“逸品”的有王墨、李灵省、张志和三人,其标准是:“性多疏野”或“落拓不拘检,”或以“高节”名世。可知“逸品”画家是以志向高洁,适情使性,不拘法度,一任自然为特点。 宋初黄休复《益州名画录》对朱景玄的“神、妙、能、逸”四格作了深入研究和变动,他似乎认识到朱景玄“逸品”与张彦远提倡的“自然”格意蕴上有其一致性,故将四格之末的“逸品”提到“神品”之上,重新组合为“逸、神、妙、能”的四格论画体系。他认为“逸品”是“笔简形具,得之自然,莫可楷模,出于意表”,“最难其 In the early Tang Dynasty, Li Si-zhen’s book proposed the theory of “Yi Pin” but without a detailed explanation, Zhu Jingxuan put forth four “God, Wonder, Energe, There are Wang Mo, Li Ling Province, Zhang and three people, the standard is: ”sex more wild“ or ”non-detention Extension,“ or to ”high section“ world. It can be seen that ”Yi Pin“ painter is characterized by his ambition to be self-reliant, sex-loving, informality and nature. In the early Song Dynasty, Huang Huifu made a thorough study and change on the four divisions of ”Jing, Miao, Neng, Yi“ of Zhu Jingxuan by his collection of ”Yizhou Famous Paintings“. He seems to recognize the implication of ”nature“ advocated by Zhu Jingxuan’s ”Yi Pin“ and Zhang Yan Yuan There is consistency. Therefore, we refer to the ”gods“ at the end of the four boxes and reassemble them into the four-frame theory system of ”Yi, Shen, Miao and Neng“. He believes that ”Yi Pin“ is ”pen-shaped, natural, model, out of intent“, ”the hardest