在今天,仍纠缠于“新文人画”这一名词显然毫无意义。事实上,历史上许多画派的名称往往跟它的实际状况不尽相符。一个新名词的诞生往往有着很大的偶然性。试想以莫奈《日出·印象》得名的印象派画家们的作品与“印象”一词到底有多大关系呢?应该感到庆幸的是今天有许多人仍在使用几百年前古人就在使用的毛笔、墨和宣纸进行艺术创作。当然更应该感到庆幸的是他们笔下的作品与几百年前的古人甚至几十年前的人们已经有了不同的面貌。作为缓慢演化着的中国传统主流绘画而言,这无论如何是一个很大的进步。 据说,作为元以后渐成主流的“文人画”是标榜出世的,从其遗留至今的作品及其价值判断标准来看亦可以体会到古人的这一努力。但是作品和人是两回事,即使以所谓的文人画正宗苏轼、米芾,及“文人画”理论的始作俑者董其昌来看,他们对后世的 Today it is obviously meaningless to dwell on the term “new literati painting.” In fact, the names of many schools in history often do not correspond exactly to its actual situation. The birth of a new term often has a great chance. Imagine an impressionist painter named after Monet’s “sunrise impression.” How much does the work of Impressionists have to do with the term “impression”? It should be fortunate that many people today are still using the ancients hundreds of years ago Brush, ink and rice paper for artistic creation. Of course, it is even more fortunate that the works they have written have had a different look than the ancients or even decades ago. As a slowly evolving traditional Chinese mainstream painting, this is a great improvement in any case. It is said that the literati painting, which became the mainstream after the Yuan Dynasty, is a symbol of the birth of the ancients. From the works left behind to date and the standard of judging its value, the ancients’ efforts can be realized. But works and people are two different things. Even in the so-called literati paintings of Dong Su-chang, the founder of authentic Su Shi and Mi Shu and the founder of “literati painting” theory,