北宋大书法家米芾精于鉴赏,所著《画史》是一部具有著录性质,对各个时期的画家,画作进行品评和鉴赏的著作,其中虽对前人多有讥贬,但他的一些独到见解也为历代学家所重。其中以对北宋初期著名山水画家李成的画迹考究中得出的“无李论”最为显眼,李成的画风在当时是作为北宋山水画主流而广泛流传 The great Northern Song Dynasty calligrapher Mi 芾 proficient in appreciation, the book “Painting History” is a record of the nature of the various periods of painters, paintings for the evaluation and appreciation of the book, although many derogatory to his predecessors, but his Some unique insights are also valued by ancient scholars. Among them, “No Li Theory” was the most prominent one in the works of Li Cheng, a famous landscape painter in the early Northern Song Dynasty. Li Cheng’s style of painting was widely spread as the mainstream of Northern Song Dynasty landscape paintings