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从晋唐以人物为工，宋元以山水为佳，明清以花鸟为能的史实，可看出中国画笔墨发展由工笔而小写意而大写意的发展过程。若发展过盛则必致衰竭，故赵孟瞓、董其昌皆曾试图遏制之以开启新一轮的写意化进程。眼下写意趋竭，工笔趋兴，新一轮却未见开启，颇值得研究。
From the figures of the Jin and Tang dynasties to the work of the Song and Yuan Dynasties to landscapes, flowers and birds in the Ming and Qing Dynasties can be the historical facts, we can see that the development of Chinese painting and calligraphy from the meticulous and freehand brushwork and the development of the freehand brushwork. If the development is over-determined, it will lead to failure. Therefore, both Zhao Meng-tao and Dong Qichang tried to contain it in order to start a new round of freehand process. At present, freehand brushwork, writing style Xing, a new round has not been opened, quite worth studying.