沈周是明中叶较早使用仿古模式进行艺术创作的书画家,在他的影响下,吴门其他书画家如文徵明等积极响应,经过明后期书画家董其昌的推波助澜,至清初四王时,仿古成为他们重要的创作手法。画学仿古创作模式的形成和发展,主要围绕师法对象(古代绘画经典)和师法方法(揣摩古人之心以得古人之神)等问题展开。画家顾炳依据画史知识和画学素养,精心摹辑传世历代绘画经典,汇成画学大全书——《顾氏画谱》,希望以此保存古画真面目,让更多世人了解和学习古代绘画经典。这一举措,客观上极大地推动了古代绘画经典的传播,也为画学仿古创作模式的形成奠定了图像基础。 Shen Zhou was the early calligraphy painter who used the antique mode for making art in the middle of the Ming Dynasty. Under his influence, other artists such as Wen Zheng-ming responded positively and through the late Ming Dynasty painter Dong Qichang, , Antique became their important creative approach. The formation and development of pictorial antique creation mode mainly focus on the subjects of divisional law (classical painting classics) and the method of division of law (try to find the ancients’ heart to be the god of the ancients). Gu Bing, based on the history of painting and painterly painting, painter Gu Bing meticulously painstakes the classic paintings of the late Qing Dynasty and collected the masterpieces of Gu’s Painting, “Gu’s Paintings” in the hope of preserving the ancient paintings and making more people understand and learn ancient Classic painting. This move, objectively greatly promoted the spread of the ancient painting classics, but also for the pictorial model of antique creation laid the image foundation.