康雍年间的京江画坛与整个江南一带,呈现流派掺杂、风格交混的局面。其中有松江派、金陵派的余绪;吴派的某些绘画风格,作为传统因素也被保持,然而此时它们并非主要,以“正统派”自居的四王画风,更成为画家争相因袭的对象,是左右画坛的绘画主流。清中期兴起的扬州诸家画风也影响到仅一江之隔的京江画坛,尤其是花鸟画的创作。更多的资料表明,京江士大夫及画人与扬州画家通常保持着极为密切的联系。由于生计所迫,京江画坛人鬻画扬州、苏州等地不乏其例,甚而出现如蔡嘉、蒋璋(铁琴)长期旅居扬州,直接加入扬州画家群体中进行创作的现象。鬻画生活迫使一部分画家不得不改变原 Kangyong years of Jingjiang painting altar and the entire Jiangnan area, showing the genre doping, mixed style. Among them are the Songjiang School and the Jinxu School; some of Wu’s paintings are also preserved as traditional elements. However, they are not the main ones. The style of the four kings who regarded themselves as the “Orthodox School” The target of the succession is the mainstream painting of the painting circles. The rise of Yangzhou in the mid-Qing dynasty Zhujiajiao style also affects the only one across the Jingjiang painting altar, especially the creation of flowers and birds painting. More information shows that Dr. Jing Jiang and painters and artists in Yangzhou often maintain very close contact. As a result of their livelihood, the painting circles of people in Jingjiang painted no shortage of examples in Yangzhou and Suzhou. Even such phenomena as Cai Jia and Jiang Zhang (Glockenspiel) living in Yangzhou for a long time directly joined the group of artists in Yangzhou. Painter life forced part of the painter had to change the original