Chinese Painting Criteria

The twelve taboos of landscape painting: The so-called Yuan Dynasty Rao Cao put forward this in the “Landscape Family Law”: First, the layout of the impulsion; Second, the distance is not divided; Third, the mountain has no air; Fourth, the passive water flow; Risk; Nothing in the Sixth Road; Seven, stone only one side; Eight. Four trees less; Nine, the figures 伛偻 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一 十一. The layout of the pavilions in the landscape paintings is full of twists and turns and anticipation

Biographies, Rao's thought of being a bogeyman, refers to paintings based on paintings and pavilions.

◇八格

In the Northern Song Dynasty, Han Song's Complete Works of Landscapes put forward: “All paintings have eight patterns: the stone is old and run, the water is clear and clean, the mountains are clear, the springs should be sprinkled, the clouds and hazy, the wild trails go back, the pine dragons and dragons snakes, and the bamboo and wind storms. and also."

Waiting

In the Qing Dynasty, Daixi's "Study for Strange Stuff" put forward: "The painting needs to wait seven times: one, fine 楮 (paper); two, pen and hand; three, color ink net; four, new landscape, or new see The famous mark; five, cable painting workers reward appreciation; six, meaning Xing; seven, work time when not immature. Seven waiting and then constitute good."

◇六气

In the Qing Dynasty, Zou Yigui's "Hillography of the Hill" put forward: "Painting and avoiding the six gas and the cheesy air, such as the village women paint the fat; the second is the craftsman's gas, and the work is not rhyme; the third is the anger, there is a brush and the edge is too dew; It is extremely rough and inflexible; it is less refined; it is characterized by a lack of strength, weakness, a lack of strength, six blacks, ignorance, and irritability."

Six long

Six strengths of painting techniques. There are two things to say: First, the Northern Song Dynasty Liu Daool's "Jin Dynasty's Famous Paintings" put forward the definition of painting. He cares about Ming Liu and he wants to examine six lengths: "The six so-called elders: crude brine is one of the finest pens. There are three kinds of meticulous pursuits. Four are also mad, and there are no five inks. The flat painting seeks six long also. "The second is the Wang Zhai of the Qing Dynasty." The quaint, mysterious appearance, the use of pens, the use of ink, the change of layout, and the coloring of Gao Hua are also available.

â—‡ Six to be

Six requirements for painting creation. There are two things to say: First, the Five Dynasties Liang Jinghao wrote "The Writing Method": "Five paintings have six essentials: one is qi, the other is rhyme, the third is thinking, the fourth is the scenery, the five is the pen, and the six is ​​the ink." Essay on the essay is not inconvenient; Rhymes, invisible traces, prepared instrument (one for legacy) is good; thinking, delete major points, condense shaped objects; King, the system because of time, search wonderful; author , Although according to the law, the operation is flexible, not qualitatively intangible, such as moving, such as moving; Ink, high and low faint, shallow depth of the product, text color natural, like non-performing.” The second is the Northern Song Liu Dao alcohol, “Jin Dynasty famous painting review” Put forward the point of view, considering that the Sixth Five-Year-Plan must go through six trials: “The six-minded are those who have both energy and energy. The grid system is also old and the second is also reasonable. The variation is also reasonable. There are also four paintings. The teacher will be short for six."

Six Methods

Six criteria for character painting, the “six methods” cited by Xie Xie’s “Pictures of Ancient Paintings” in the Southern Dynasties were:[color=#ff0000,strength=3)] Lively rhyme, bones, pens, pictograms, Lottery, business location, transfer mode (one mode transfer). Zhang Yanyuan's "Inscriptions on famous paintings of all ages" listed "characteristics of lively rhythm and vividness" and "bone method using pens" as the primary method. In the Qing Dynasty, Zou Yigui's “Sketch of the Mountain Paintings” held that “in six languages, when business is the first, pen is the second, and color is the next, the mold should not be included, and the charm is drawn after it is drawn. Whereas Qiyun, starting from where to start with Qiyun as the first appreciation of the sayings, non-writer law is also.” The followers benefited the public, and gradually applied to landscapes, flowers and birds and other paintings, and have become accustomed to “Chinese painting” synonym. The modern Qian Zhongshu was re-punctuated: "The Six Leapters? One, Qiyun, vivid is also; Second, the bone method, using a pen is also; Third, the object, the pictogram is also; Fourth, with the class, Fucai is also; Fifth, business, location is also;, transfer, model is also ". ("Tube Cone" Volume IV)

Four difficulties

In the Qing Dynasty, Sheng Da Shi recorded that "There are four difficulties in painting: less paintings and more quasi-examinations; deeper meanings and difficult dilemmas; Also, the management is bleak and the structure is natural.Four hardships are also.The Grand Dynasty in the Qing Dynasty, “The Stream Mountain Stream Record” stated: “There are three paintings: the theory is also, the atmosphere is also, and the interest is also. The three are not included in the product of exquisite divinity. Therefore, they must be sought in the middle of the plains, purely wrapped in iron, and made up with one another. ”

Three diseases

Refers to the use of the pen three kinds of rickets. In the Northern Song Dynasty Guo Ruoxu's "Picture Information Journal" volume one "On the merits and demerits of the pen", "There are three diseases in the painting, all are used as pens, the so-called three: one version (plate), two seals, three knots. Weak pen-and-mood, all-you-can-gain, flat-like things, not squatting also; engraved with the suspect in the pen, heart and hand in phase, hook the painting, the twins are also: if the knot wants to do it, when scattered, like scattered, like Things are constrained and cannot be smooth.” Chinese painting emphasizes the use of pens and emphasizes the beauty of lines. If the wireless lines are beautiful in the paintings, the “no pens” are called.

Three products

It refers to the three grades of the art of painting, calligraphy and painting, that is, the magic goods and the miraculous goods. Energy products. In the Tang Dynasty, Zhang Huaiyu's "Book Breaks" commented generations of calligraphers who established God, Wonderfulness, and Power. They originated from the upper, middle, and lower thirds of Liang Shu's "Shu Pin" in the Southern Dynasties (every time was divided into upper, middle, and lower levels. For nine cases); Northern Song Dynasty Liu Daohan's "Jin Dynasty's famous paintings" commented on this, Yuan Xia Wenyan, Ming Dynasty Wang Shizhen followed. In the Tang Dynasty, Zhu Jingxuan's Famous Paintings of the Tang Dynasty assisted Li Zhenzhen's "After the Book" to establish a product outside the upper, middle and lower third grades. In the Northern Song Dynasty, Huang Yufu's "Yizhou Famous Paintings" was divided into Yige, Shen, Miao, and Can. It is said that “the most important thing in painting is Yige, which is the most difficult thing to do. The rules are in the circle, and the meticulous research is in the painting. The shape of the pen is simple and natural. You can't imagine it. Because of this, you have a vision of Yigeer.” The arts and crafts should be based on the pictograms, their high abilities, thinking together with God, creative three-dimensionality, and the right to be combined together. People, each with its own nature, are meticulous in ink brushstrokes, knowing nothing about it. Sexual activities are planted and planted, and scholars learn about Tiangong, even Yue-Yue Rongchuan, divergent scales Xiang Yu, vivid images, so the head of the can to Geer.” Song Huizong Zhao Wei commentary painting, God, Yat, Miao, can order. In the Qing Dynasty, Huanghua was subdivided into 24 products. There are two sayings about the three-permanent Chinese calligraphy and painting term: First, the three poems, books, and paintings all have very high achievements and are called "three absolutes." Tang Xuanzong Li Longji had the inscription on Zheng Xie's landscape painting and wrote "Zheng Yu San Jue." Second, in the history of painting, Gu Jinzhi of the Eastern Jin Dynasty was known as the “Three Absolute,” and the book of Gu Shizhi’s biography of “Jin Shu” stated that he had “a talented person, a painting artist, and an impersonator”. During the Ming and Qing dynasties, there were also the "three extinctions" in which "absolutely exquisite, exquisite, and extinct" were called.

Ambiguous

Chinese painting terminology. Refers to the painter's repeated observation of objective things to obtain a rich theme. Wang Wei of the Tang Dynasty said: "Where painting landscapes, the meaning is in the pen." Zhang Yanyuan also said: "I mean the pen first, the painting is full of meaning." "Bodylikeness, all of this in the concept." Conception of the depth of the points. Wang Yuanyu of the Qing Dynasty said: "If the intentions are not high enough and the vision is not enough, it will be a diaphragm if it is rendered."

Location

The so-called "operational position" refers to the layout of drawing composition and layout to be appropriate and ingenious. In the Qing dynasty, Wang Xi’s painting “Dongzhuang on Painting” stated: “The painting is pre-positioned. What is position? Yin-yang, back-to-back, vertical and horizontal, ups and downs, opening and closing, locking knots, cuddling, arranging, overtaking, and mapping. Side, comfortable and comfortable."

Picking up knots

It refers to the beginning of the composition of paintings, which should be broadly based on the starting point, closely related to the point of view, have a global perspective, and are not limited to the corner. In the Qing Dynasty, Wang Xi’s “Dongzhuang Theory Painting” said: “The most important thing for painting is the knot. If a horse runs away from the dust, it must be able to stand still, and there is a tendency to live without stopping. The sea has been harvested and there is no end in it.” Zhang Feng said: “The good chess players fall on the cloth, soar to the west and gradually pick up, so that all the segments win. This game is good at using pine. It is also intimidating to use pine and pipa to decorate and gradually dye by layer.

Have a good idea

The Northern Song Dynasty Wentong (word and can) advocate that the bamboo must first be “be prepared.” Su Shi said in the "Wen and Can Picture Sugisaki Kanji": "Painting bamboo must be done in the chest first," claiming to be "and teach what can be so." In the three poems with the name of Kotake, the praise was: "When you can draw bamboo, you cannot see anyone. When you see bamboo, you don't see anyone, but you are left alone. Your body and bamboo make endless freshness." There are also sentences in "Give Yourself to the Poem, Learn Yang Keyi and Learn to Draw Poems." The so-called “being successful” is a mature idea for image-making and composition before the artist's creation. Therefore, he can “get his own wonderful solution”.

I want to move

In the Eastern Jin Dynasty, Gu Weizhi's "Wei Jinsheng Painting": "When it comes to painting, people are the most difficult, the landscape is second to none, the horses and the horses are stationed, and the Taiwanese people have certain ears. It is difficult to succeed and it is easy to do so. It is not for the sake of relocation." In the "Wen Fu," the so-called "floating algae" is similar. However, "relocation" is more extensive and more purposeful than "association". The artist's "imaginative power" comes from "relocation" and is also the basis of the artist's "spiritual thinking." Therefore, it has always been the “vividness and vitality” of Chinese painting.

Unfortunately, ink like gold

In other words, it is appropriate to use ink, not arbitrarily squandering, and use as little ink as possible to perform abundantly. Legend has it that the Northern Song Dynasty landscape painter Li Cheng “cherishes ink like gold,” he painted a cold forest and painted dry branches with thirsty strokes. The tree body was only wiped with light ink. However, on the screen, he still achieved the effect of “mountain forests and floods, peacefulness, and ease”. In the Qing Dynasty, Wu Li once said: “Ink and ink are used in the ink. The painter uses ink to be subtle, splashing and vomiting. He cherishes the bones.” Qian Du said: “Yunlin (Ni Lan) prays for ink like gold, but the cover is light and loose. There are many dry fronts, less strokes, and better renderings, and they can be used to save the ears. When rendering, you can save the awkwardness, create a cloud of smoke, and stunned Weng, you can't use the wet pen to re-ink your ears." "Recalling" all expound the meaning and role of "Treasured Mercury".

I don’t know how to

Chinese painting terminology. Finger paintings are expensive and subtle. Although the pens are not yet available, they can be obtained in artistic conception. In the Tang Dynasty, Zhang Yanyuan talked about Wu Daozi's paintings: “I mean the pen first, and the painting is full of meaning. Although the pen is not very thoughtful and thoughtful.” Su Shi’s painting of Zhao Yunzi in the Northern Song Dynasty: “The brush is a bit simple and the idea is all right.” Qing Shouping said: “ Today's people are attentively writing and ink, and the ancients have no intention of pen and ink at the heart, and if they can not see the ancients' intentions at the point where the brush and ink do not exist, then it will be a matter of skill for a few of the proposed gods.” The relationship between the mind and the pen is the relationship between the imaginary and the real. Seeing imaginary things and making imaginary things visible are all good things.

◇解衣盘礴

Chinese painting terminology. Relieve clothes, that is, bare-chested arms; entrenched, that is, sitting on the floor. I want to concentrate on painting. "Zhuangzi Tian Zifang" contains: "Everything in the Song Dynasty will have a picture, all the history is the highest, and it will be followed by the chanting and ink. If there is one after the other, there will be no history. When the public servants see it, they untie their clothes and win (unlike the nakedness.) Jun: "But it is a true painter." "Qing Shouping of the Qing Dynasty also said:" There must be no solution next to the painting. , and then turn the machine in hand, vitality.

â—‡ shape

Symmetrical with "likeness." Chinese painting terminology. Refers to the external features of the artwork. In the Warring States period, there is a saying of "formation and deity." In the Southern Dynasties, Qi Fanyi also said that “the existence of the form is the saving of the spirit, and the shape of the worship is the destruction of the god”. The shape is similar to that of a god. Although Song Zongbing, the master of the Southern Dynasties, said that the Lord “much of his interest in mingling with his own thoughts” still insists on “writing in forms” and “using color to express colors”. The Eastern Jin Dynasty Gu Kaizhi put it more clearly, that is, he wrote "to write God in form." Zou Yigui of the Qing Dynasty said: "It is not tangible and does not look like a deity." Therefore, "likeness" is the starting point of painting. However, in the shape of seeking expression, it is still the ultimate form of art. See "Godlike."

Alike

Symmetrical with "shape", Chinese painting terminology. Refers to the unity of subjectivity and objectivity, from the representation of things to the deepening of imagery. That is, "the use of the shape of God, the quality of the shape of God." In the Northern Song Dynasty, Su Su had a theory of "in the form of paintings, see neighbors with children." Yuan Wenzhao said, "The painting is easy to form and God is difficult. The shape of the body is also the body, and the spirit of God is also. The mortal body is often able to learn the artist. As for the spirit, from the chest to the others, there are people who cannot." Huang Huo resumed on the "six laws" cloud: "but the shape is similar to the first two charms, there are Qiyun and intangible like, then the quality is better than the text; tangible and without rhyme, then flashy." Its "Qiyun" that "like." Yi Dao, Yang Shen, and Li Yi have elaborated that “paintings are not written in shape, and they are in shape.” Therefore, "both form and spirit" is the conclusion of the painting art. See "shape".

It is not like

Chinese painting terminology. Refers to the artist's artistic image, not only to copy objective things, but to summarize, choose, adjust, in order to receive a higher artistic effect than life. It was first seen in the Ming Dynasty Shen Yi's "Painting": "Similar but not like, not like and like." Qing Shi Tao poems also include: "The famous mountain Xu tour is not allowed to draw, the painting must be like the mountain must be strange, change magical ignorant It is not like the moment when the worship. "Modern Qi Baishi said "not like it", that Shi Tao said "is not like it." Huang Binhong said: "Surely those who like things and those who don't like things, they all deceive the paintings of the world's pirates, but they never seem to resemble the imagers. This is a real painting." Fu Baoshi once outlined painting procedures: unlike (starting) — Like (after) - not like (finally). ("Chinese Painting Theory")

Failure of the wall

Chinese painting terminology. The finger-marking of the fingertips leads people to "treasure and rejoice." Sentence to the Northern Song Dynasty Shen Kuo "Meng Xi Bi Tan." The Renzhuang Tiansheng (1023-1031) picture court waited for Chen Yongzhi to use his paintings. He suffered from a landscape painting that was not as good as the ancients. He asked Shaoji Songdi who was a member of the degree. He said: “This is not hard to hear. Paper) on the wall of defeat, view it from morning till night, watch it for a long time, see the high and low twists and turns on the wall of the partition, and all become landscapes. As one thinks of it, God conspires to create it. , Natural days, not artificial, is the living pen. "Use it from now on. Guo Xijian Yang Huizhi's plastic landscape, also felt, so that the shamans do not need mud palm, only to mud or wall, or concave or convex, all do not ask, then with the ink in its trail, faint into peaks , To be a pavilion, the character's genus, like a heavenly nature, called the "wall." This method is actually a "failure of the wall".

◇ 毛 失 失 失

Chinese painting terminology. The Western Han Dynasty Liu An mentioned in "Huai Nanzi said Lin Xun" that "unusually, the painter looks woolly and loses appearance." It means that painting cannot be fine-grained. If so, it will cause the appearance of the painting (the whole) to be lost. In the Qing Dynasty, Wang Hao said: "The loss of paintings is a big loss, the loss of details is a minor loss, the loss of change is easy to change, and the loss of a great deal is difficult to save. The painter should not be careless."

◇吴装

Also known as "Wu family". A pale shading style of Chinese painting. According to legend, the figure painting that began in Tang Wudaozi is named. In the Northern Song Dynasty Guo Ruoxu's "Picture Information Report" Volume I "On Wu Sheng-ting": "Taste the view (Wu Dao-zi) by painting the wall scrolls, with a strong pen and a strong color; or with a color setting between the walls, mostly descendants. For the present, the painter has a scorn for the young, and it is called 'Wu Zhuang' (Note: Image of sculpture, but also with Wu's clothes.) Later, he extended the name of the shallow landscape painting as "Wu."

Cao Yi

Refers to two kinds of relative clothes crease expression program. According to legend, Wu Daozi's figures in the Tang Dynasty turned round and his clothes fluttered; while the Northern Dynasty Qi Cao Zhongda painted Buddha statues with dense overlapping brushwork and narrow clothes. Later generations claimed that “when the wind brought the wind, Cao Yi watered out”. Both of these famous paintings are also popular with ancient sculptures and casts. One said that Cao refers to the Three Kingdoms Wu Cao Buxing, and Wu guides the Song to Wu. See Guo Ruoxu in the Northern Song Dynasty, "Pictures, Reports and Information", volume one, "On Cao Wu Style."

Spring silkworm silk spinning

Used to describe the characteristics of line drawing figures. The line drawing of Gu Yuzhi is called "Spring Silkworm Silking." Intention to draw soft and gentle, unbroken performance. Different from the feeling of wire drawing, the former is soft and the latter is stiff.

One stop

Chinese painting terminology. The ancients said: The painter is in the figure, and he must be "nine old and one stop." That is, the shape of a pen (such as wicker charcoal) is first scratched and modified several times. "Nine decrepitudes" and "nine erroneous rites" alleged that they were repeated several times. Following the description of the ink lines, they were "one stop." The Northern Song Dynasty Zhou Chung claimed that painting should also be "achievable"; At the same point, the good bookmakers also crippled and wrote later? However, in the Qing Dynasty, Sheng Daoshi thought: "Everyone today can't do anything without using a pen, but in fact, the work of the painting is so immortal?" ("Xishan lying travel record")

Powdered

The ancient Chinese painting powder applied version. In the Tang Dynasty, Wu Daozi once painted over 300 landscapes in the Jialing River in Datong Hall. Xuanzong asked him about it and played it: "There is no official copy of this book, and it is remembered in the heart." Yuan Xia Wenyan "Painting Baojian": "An old man's painting is a powder." There are two methods: First, use the pin to draft Lines of ink stick a small hole, puff into the paper, gong or wall, and then paint by powder. The second is to paint chalk and soil powder on the reverse side of the artwork, and use it to trace the front ink lines on paper, gongs or walls, and then use the chalk to mark the ink. Later extensions are the titles of general drawings.

◇小品

Also known as the "Song Man Sketch." Speaking from the Buddhist scriptures, the Buddhists called the sample "magnificent," and the simplified version was "a sketch." Chinese painting sketches prevailed in the Song Dynasty, and Huizong Zhao Kuang was built into the Longdeok Palace. He waited for the wall of the painting palace to be a momentary choice. One said that this is a picture on the screen, there are squares, each screen embedded more than ten. Circular type commonly used cymbal fan embedded. One said that the murals of the murals are small and not lighthearted. Song Zongbing of the Southern Dynasties said: “The three-inch vertical scale, when the thousand-year-old high; cross-ink number rule, the body of the hundred miles.” As the Tang Dynasty Wang Wei said, “The figure of the dead body, write hundreds of miles of the King.” Some people also say that it is a decorative picture used on lights and screens. The "Song Man's Essays" painting also has the same characteristics as the "Six Dynasties Essays" essay. It is a microcosm of the Song Dynasty painting art.

◇ 摹 摹

Chinese painting and calligraphy terminology. A means and process of learning calligraphy and painting. In the preface to Xie Xie's “The Ancient Paintings”, the Southern Prosecutor put forward “six methods” and the sixth one was “transmitting and writing”. Zhang Yanyuan of the Tang Dynasty said: “In the past, he had to expand the paintings and get ten or sevens and eights without losing the traces of divine colors.” In the Northern Song Dynasty, Huang Bosi's "Eastern Views" argues that there are strict differences between Promenade and Prostitute, and "both are special and cannot be chaotic." It is said that it is written or painted in front of others, watching the situation. Therefore, the copybook was placed next to it, imitating its strokes, and calling it "Linfen"; if the ancient painting was placed next to it, it would be called "painting" using the color of the pen.摹 摹 摹 摹 摹 薄 薄 薄 薄 薄 薄 薄 薄 薄 薄 薄 薄 薄 薄 薄 薄 薄. Later generations use the two meanings of the “Linyi” language, and do not emphasize the difference between “pros and cons”. At the end of the Ming Dynasty Tang Zhiqi said: “Linyi is the easiest place, and the air is rare. The teacher’s intention is not the teacher's trace. It is also a real copy.” Qing Zhong said: “The painter has his shape and his temperament is not born. Intentions, but the position is unstable." Therefore, the ancients did not necessarily arrest the artist's intentions.

The homology of painting and calligraphy

It means that Chinese painting and Chinese calligraphy are closely related. The emergence and development of the two complement each other. In the history of painting, the so-called “Ho Tullu book” was used as the basis for the homology of painting and calligraphy. In the Tang Dynasty, Zhang Yanyuan’s famous paintings of all ages. "The Origin of Narratives," said, "You have four eyes, and you look at the vertical image. Because of the trace of the ostrich turtle, the shape of the book is determined by the shape of the book, and the nature cannot hide its secret. Therefore, ghosts cry at night. It is also time that the paintings and paintings are of the same body and are not divided, and the beginnings of the paintings are still slightly sketchy. There is no means to convey their meanings, so there is a book; there is nothing to see its shape, so there is a painting.” This is the earliest “painting Homologous" said. The ancient Chinese scriptures of the "Individual Deed" were framed by both calligraphy and pictures. Zheng Wuchang, a recent person, said that "it is an era of mixed painting and calligraphy."

Goldsmith

A technique for writing and painting. "Talk about it": "The Southern Tang Li Houzhu (Lee Yuen) is a good book and is a quivering brush. It's like a cold-frozen frost bamboo. It's called a gold wrong knife." "Xuanhe Pictorial": "The Lord has made another The golden faulty knife painting is also refreshing and extraordinary, and the other is a one-gram method. After the master gold misreading the book uses a three-pass method, the old age changes to the painting, so the trembling is just like calligraphy.” According to the “Law Book to Record”, there are also Kim wrong knife one. Li Shu’s paintings and paintings are no longer alive, and later generations are quite imitations. “Drawings on the map” and “East map of Yuanzhan” contain: “Sun Shangzi, a good trembling pen, seen in clothes, hand and foot, Kiba, and Chuanliu. Everywhere is trembling.”

◇款识识

The ancient bronze pottery was cast on the stone. "Hanshuo Suburbia": "This is a small, small class, and should not be recommended to be found in the Jongmyo Temple." Yan Shigu Note: "King, carved also; knowledge, remember too." In addition there are three said; -, paragraph Those who are invaded by Yin Yin, and those who believe in Yang are raised. Second, the paragraph is outside, be aware of. Third, the pattern for the paragraph, engraved as knowledge. See the quotation cited in "Tongya" Volume 33. In later times, books and paintings were titled and named, and they were also referred to as “paragraphs”, “dictionaries” or “items”. On the painting, the Tang people only had small characters to hide their roots, and those who didn’t work had lost their papers. When they were in the Song Dynasty, they only remembered the years and months, and they did not read two lines. However, Su Shi has been guilty, or three or five lines of proverbs. Yuan Yuan developed from the date of recognition to the title of poetry. There are more than 100 characters. To the Ming and Qing dynasties, the winds of great prosperity, is still not bad.

â—‡ title

The words written in front of books, calligraphy, and rubbings are called "questions." The text behind them is called "跋." In the Qing Dynasty, Duan Yucai stated that “the subject of the essay should be marked with the former and the person with the ancestor should be followed.” Generally, it refers to the title of knowledge in books, paintings, and books. For titles, reviews, exams, notes and the like, genres are prose, poetry, words, etc. The Northern Song Dynasty Shen Kuo's "Meng Xi Bi Tan" volume five contained: "Tang Zhaozong luckily Huazhou, as" Bodhisattva" resigned three chapters, this remark Moben was still in a Buddhist temple in Shanzhou. Later, the title was too numerous, and the giant axis was invaded.” On the canvas of the title, the King of the Qing Dynasty summed up the painting of Mustard Garden. He said: “Before the Yuan Dynasty, there was no use for money, or hidden stone gaps, fear of failure in writing, and injury. The bureau chief, to Ni Yunlin's grammar, the end of the poem, or the poem, the posthumous poetry, the Wen Heng Shan section, the Shen Shitian brushstrokes, the Xu Wenchang poetry, the Chen Baiyang title, the genius of each invasion, After turning the Yuan Dynasty, the poems and renditions of the title books have become an artistic means to add poetic and artistic expression to Chinese paintings.

Huang Huai Painting School

One of the Chinese painting schools. For the five generations of flower and bird painting school, on behalf of the artist Huang Ye. Huang Juxi’s painting and calligraphy institute was dominant, and after the Song Dynasty, the painting style continued for almost a hundred years. At that time, the flower and bird paintings were all based on the “Huang system”. In the Northern Song Dynasty, Guo Ruo-xu said in his book “Study Wenzhi” that “Huang Jia is wealthy and Xu Xi Ye Yi.” He also pointed out that Huang Pai’s paintings are mostly forbidden in the banned birds and birds, and strange flowers and rocks. With a pen, neat and colorful. In this style of painting, outlines are drawn with fine lines of ink and then filled with color, the so-called "hook filling method." Later generations were rated as "Music Colors and Colourful Purity".

Xu Xu School of Painting

One of the Chinese painting schools. One of the five generations of flower and bird painting school, on behalf of the artist Xu Xi. In the Northern Song Dynasty, Guo Ruo-xu said in his book “Study Wen Zhi Zhi” in “On Huang and Xu Juyi”, he said: “The Yellow House is wealthy, and Xu Xiye is undisturbed.” He added: “Xu Xijiang is in the south,” and “the rivers and lakes are everywhere”. Waterfowl abyssal fish." This school made a thick brush and thick ink, slightly applied garland, and handwriting is not hidden, known as "fallen the ink". See "Ink Falling."

â—‡ Northern Landscape School

One of the Chinese painting schools. From the Chinese landscape paintings to the beginning of the Northern Song Dynasty, North Division and Jiangnan faction began, and Guo Ruoxu’s “Picture Information” stated: “Wei Ying Qiu, Changan Guantong, Hua Yuan Fan Kuan, Zhi Miao entered God, only to be superior to the others. Dinghao, the EMI standard process." added: "The weather is Xiao Yan, the smoke forest is clear, and there is no end, the ink is subtle, the system of the camp hill also; stone body condensate, Zamu Fengmao, Taiwan Pavilion quaint, quiet people The style of Guan Shi is also strong; the peaks are strong, the momentum is strong, and the pen and the pen are both well-balanced, and the people of the house are all quality. Fan's works are also painted. Shaanxi, the strength of the northern landscape painting master.

Southern landscape painting school

Also known as "Jiangnan Landscape School". One of the Chinese painting schools. The Northern Song Dynasty Shen Kuo's "Meng Xi Bi Tan" said: "Dong Yuan, Gong Qiu Yuan's vision, and more to write Jiang Nanzhen, not strange Qi gas; Jianye 僧 然 然 述 Zu 述 法 法 , 臻 臻 臻 臻 臻 臻 臻 臻 臻 臻 臻 臻 臻 臻. Said: "Dong Yuan plain and innocent, Tang does not have this product." This faction to Dong Yuan and Ju Ran as a great master, known as "Dong Ju." The small scenes of Hui Chong and Zhao Lingjun were sent to tributaries. Michelin and his son, Mi Pai Yun Shan, painted the scenery along Jingkou and showed the new appearance of this school. At the end of the Southern Song Dynasty, Fa Chang (Muxi) and Ruo Fen (Yu-Yu) all belonged to the South Painting System and flourished during the Yuan Dynasty.

Demi school

One of the Chinese painting schools. Refers to the paintings painted by Mi Fu and Mi Youren in the Song Dynasty. In the history of painting, "rice", "millet" or "two meters" is called. Mi Beilin and Li Gonglin made rare comments about ancient and modern landscapes. Claiming to be "Nothing Li Cheng and Guan Tong." Traditional Chinese landscape paintings are mostly based on lines, while rice bran is horizontally lumped into blocks and called the “Land of Fallen Eggplants”, breaking the rules of lines. Its characteristics, can express misty clouds, misty fantasy scene, known as "Mie Yunshan." You Ren inherits and develops family traditions, draws trees without roots, and draws clouds. Each happy topic is "Yuan Hui." Due to his father and son living in Xiangyang and Zhenjiang, he is particularly enchanted by the natural scenery of Sheshan, Xiangshui and Jin and Jiao Mountain, so he can draw the joy of water vapor and turbidity. This school is a freehand style. The Southern Song Dynasty, Muxi, Gao Kegong and Fang Congyi in the Yuan Dynasty all played a role in the later generations.

Wuhu Prefecture Bamboo School

One of the Chinese painting schools. The painting of bamboo was best known as Xiao Yue of the Tang Dynasty and Ding Qian of the Five Dynasties, but no paintings were handed down. In the Northern Song Dynasty, Wen Tong and Su Shi took pictures of bamboo on the time. In the first year of Yuanfeng (1078), Wen Tong was ordered to serve in Huzhou (now Wuxing, Zhejiang Province). He had not yet assumed office and died in Chenzhou (now Huaiyang, Henan); Su Shi took over as Huzhou prefect, and was not able to depreciate Huangzhou. Although they are enrolled in Sichuan, they are all ancestors of the Huzhou Bamboo School. Rice critics: The characteristics of Wen and Su painting bamboo: "With dark ink as the surface, light ink as the back." The bamboo paintings of the Yuan Dynasty, Li Yu, Zhao Meng, Gao Kegong, Wu Zhen, Ke Jiusi, etc. are all Huzhou Zhupai. Successors have a great influence on later generations. The Ming Dynasty lotus essays "Huzhou Zhupai" a volume, where twenty-five people, the Department recorded "picture history", "picture following", "illustrated treasure map Kam" and other books.

â—‡ Changzhou School

Also known as "Piling Painting School" and "Wujin Painting School". One of the Chinese painting schools, Pilling and Wujin are ancient names of Changzhou, Jiangsu. Beginning in the Northern Song Dynasty, Ju Ning, Southern Song Yu Qingyan, the Yuan Dynasty in the Road, Sun Long in the Ming Dynasty, Tang Yuguang in the Qing Dynasty, Yan Shouping, all belong to it. The ancestral confession of Xu Chongzhen and Zhao Chang did not have a bone method, and they used sketches of grassworms and flowers to win. Juning's paintings can no longer be seen. According to Mei Chenchen (1002-1060), "Ning Gong is a god-given dean. He sat in a group of generations." Guning grass-worms seem to belong to the ink play of Chanlin. Sun Long was affected by it. Yu Zusun's paintings were also lost. In Japan's Zhienyuan, there was a copy of the Lotus Flower in the Southern Song Dynasty, which was printed in the form of “Piling to the Son”, or in Qingyan. Yu Shouping and Tang Yuguang's real source are from the family. Qi Shouping tried to say: "Yu and Tang Pishishi (Yu Guangzhi) studied and sketched each sketch. Every time Huang Xi was too skilled, Zhao Chang did not delineate, and Xu Xi had no way to get anything. It was difficult to take." The sketch of Tang flowers and the feeling of multiple empties are the successors of Xu Chongyi's no-bones method. The world known as the “Xuan school” has a great influence on later generations.

â—‡Pilling School

That is, Changzhou School of Painting.

Wu Jin School

That is, Changzhou School of Painting.

â—‡ Wumen School

Referred to as "Wu Men School." One of the Chinese painting schools. In the Ming Dynasty, Shen Zhou and his student Wen Zhengming, painting landscapes advocating the Northern Song Dynasty and the Yuan Dynasty, differed from the style of the Zhejiang School of the Southern Song Dynasty. They prevailed in the mid-Ming Dynasty and were well-received by scholars. Wen Boren, Wen Jia, Chen Daofu, Wang Xiaoxiang, and Lu Wen were the famous scholars. Zhi Zhi, Qian Yu, etc., they are all Suzhou government, Suzhou alias "Wu Men," because of the said. At that time, the painting industry played an important role.

Yi Wu School

One of the Chinese painting schools. The representative school of painting in the middle and late Ming Dynasty. In the middle of the Ming Dynasty, the painting school was headed by the “Wumen Painting School,” and in the later stage, the Songjiang School was promoted. Songjiang originally belonged to Wudi, and later generations collectively referred to the two factions as "Wu factions." In the Taihu Lake area, it became popular. Representative painters include Dong Qichang, Chen Jiru, Zhou Tianqiu, Mo Shilong, Li Rihua, Xiang Shengyi, and Yan Wenyu. Dong and Chen sent the backbone to this.

â—‡ Songjiang School

Referred to as "Songjiang School." One of the Chinese painting schools. The general term for the three landscape painting schools under Songjiang Fujian (now Shanghai). One is headed by Zhao Zuo and called "Su Song school of painting"; the other is led by Shen Shi-chong and called "The Yunjian School"; third is Gu Zhengyi and his son-in-law, called "Huating School". Among them, the "Songsong School" and "The Cloud School" all originated from Song Xu, Zhao Zuo and Song Yijin with the same division as Song Xu. Shen Shichong is the master of the Song Dynasty and he is also the teacher Zhao Zuo. These painters, except Song Xu, are Songjiang people, and their styles affect each other, so they are collectively called the Songjiang faction. At that time, Dong Qichang's paintings and paintings were momentary confessions; he was associated with Chen Jiru.

â—‡ Su Song School

See Songjiang School.

Yong Hua Ting School

See Songjiang School.

Jinyun School

See Songjiang School.

Zhejiang School of Painting

Referred to as "Zhe school". One of the Chinese painting schools. Ming Dynasty painter Dai Jin, Qian Tang (now Hangzhou, Zhejiang Province) People, landscapes, and figures are taken to the South Song Dynasty Academy of Painting. There are many scholars, including Wu Wei, Zhang Lu, and Xia Xie. Li Li, who had been with Dai Jin, was similar in style. There is a Zhe school. Later, Chiang Kai-shek took out the special painting and ink-dry pen and dyed rough. Although the style of Lan Lan was different from that of Dai Jin, it was usually listed as the “Zhe School”. Wu Wei and Zhang Lu also known as the "Jiangxia School" and a tributary of the "Zhe School."

Fujian and Zhejiang school

That is, "Zhejiang School of Painting".

Fu Xin An School

One of the Chinese painting schools. In the late Ming and early Qing Dynasty, Jinjiang (Hongren) was the first road, together with Cha Shibiao, Sun Yi, and Wang Zhirui, they were collectively referred to as “the four members of Xin'an School”. Gradually Jiang was a member of Yixian County, Chashibiao, Sunyi, and Wang Zhirui were Xiuning. Both counties belonged to Huizhou government, and Jintang was a case of Xin'an County. Also known as “Haiyang Four” and “Haiyang” under the name “Huiyang”, the Three Kingdoms Wuzhi, avoiding the change of “Haiyang”, is located in Donglishili, Xiuning County, Anhui Province. The characteristics of the four clan patriarchs Ni Kuang, Huang Gongwang, and more sketches of the scenery of the Huangshan cloud and sea turf, more ink, with a pen clean and simple. Those who belong to this school are Cheng Hao, Dai Benxiao, and Zheng Hao. Their style is gloomy, and modern Huang Binhong is the teacher. There are Jiang Yan, Wu Ding, Yao Song, and Zhu Chang, who are gradually known as the “Four Majorities” in the river.

â—‡Painting

Illustrations or illustrations of Chinese paintings. In the Northern Song Dynasty, Xuanhe was entitled "The Painting of Yihe Paintings." Originally, it was an illustration of the famous paintings of the ancient court of Song Huizong and downloaded pictures. However, the name of "pictures" is all this. The "Plum Blossom" compiled by Song Songren from the Southern Song Dynasty is from the flower buds to the fallen plum blossoms. Yuan Li's "Detailed Bamboo Record". There are pictures and texts, mainly introducing bamboo paintings. Since the Ming and Qing dynasties, woodcuts haven't come out of the above two categories. As shown in the picture, there are "Famous paintings of the famous dynasties", "Biography of Late Laughter Paintings", "Drawings of the Tang Poetry", "Shi Yu Tang Spectrum", and "The Ten Bamboo Bamboo Paintings", etc. Takamatsu Takeo, Snow Lake Plum, and Mustard Garden Biography. Those who still have paintings and names of famous paintings, such as the "Tang Six-like Paintings" written by the Tang Dynasty in the Ming Dynasty, the "Pei Wen-Zhai Painting and Calligraphy" edited by Qing Kangxi, and the "Paintings" written by Yuan Ji (Shi Tao) ( In other words, the “Quotuous Tattoo Monk Painting Quotes”), etc., are also often referred to as the “Drawings”.

â—‡ decoration

That is, "mounting." The ancient paintings and calligraphy were made with sock paper (paper dyed with yellow sorghum juice) and socks. "Tang Liudian": "Chongwen Museum has five decorators, secretary of the province has a decorator ten." There are also "Huang" as pond solution, because the edges of the paintings and lacquer gilt brocade, itself as surrounded by the pool, hence the name . "Tongya device with": "Huang, still pool, plus the margin is the pool, installed into a volume book, that the 'decoration', that is, 'back and back' also." See "installed."

◇ 裱

裱 一 一 一 一 一 一 一 一 一 一 一 一 一. Also known as "decoration", "packing pool", "packaging and treatment", "installing back", "decoration", "cocoon", "red house governance." China has a special skill in painting and calligraphy, and rubbings. Zhang Yanyuan's "Famous Paintings in Ancient Dynasties" in the Tang Dynasty. “Before the Jin Dynasty, the back was not good. The Song Dynasty Fan Yan was able to carry the back.” During the Eastern Jin Dynasty, Longan and Yuanxing (397-404), the skills gradually matured. When Emperor Wudi was the emperor of Song Dynasty, when he was Emperor Mingdi, he was still in the nest, Xu Xixiu, and Sun Benbo compiled the books. Liang Wudi ordered Zhu Yi, Xu Yuquan, Tang Huai-chong, Yao Huaizhen, and Shen Chi-wen to add “protection to the books of the Former Dynasty”. The book "New Book of Tang Dynasty" prefaces the primordial view of the early Tang Dynasty and attaches importance to decoration: "There are four books in the Scriptures, History, Children, and Sets. They have their own counterparts. The axes are marked with different colors and they are different." Yi-tzu is exquisite, and the Southern Song Dynasty secret "Qidong Yeyu" said: "The method of binding four axes to the axis is extremely eloquent." He added: "The decoration of the library has its own scale, and the title of the ink is known. It has a type." The decoration techniques have improved since the Qing Dynasty. Most of the things that are found on the back are covered with paper on the back, the world's heads and borders with hanging lining, lining, or paper on the hanging shaft. The hand roll is surrounded by a foreskin. There is a lead before, there is a water barrier, there is a trailing tail, and each is installed. Axle; album and the border frame, before and after the subpage, plus the board surface up and down. painting and calligraphy. Once the rubbings have been installed, they will benefit from artistic effects and will be easy to watch and collect. The broken objects can also be repaired completely. In the Tang Dynasty, Zhang Yanyuan's "Famous Paintings of Ancient Dynasties," volume 3 has an article on "Installation of Recitation Axis"; Ming Zhou Jiaqi's "Decoration" and Qing Zhou's "Rewarding Yan Xin Lu" are all monographs on disguising decoration.

Armored Pool

See "decoration", "decoration".

◇裱褙

Also for "back-to-back" and "back-loading." That is, "mounting." Ming Zhou Jiahe "decoration.裱背十三科》：“《辍耕录》云'画有十三科'，表背亦有十三科。”

◇立轴

中国书画装裱的一种式样。中称“画心”（一名“画身”，又名“蕊子”），上称“天头”，下称“地脚”）上下又有“隔水”。装裱尺寸有大有小，四尺以上的画幅，称“大轴”，俗称“中堂”，特大者称“大堂”或“大中堂”、三尺以下的画幅称“立轴”。有三色、两色、一色三种绫（或色纸）裱。也有绢裱的。上装天杆，下装轴。有的天头贴“惊燕带”（一名“绶带”），此种格式盛行于北宋宣和时，后从之。初“惊燕带”不贴实，能飘动，后贴实，纯为装钸。“画心”上下端可加镶锦条，称“锦眉”，亦称“锦牙”。

◇中堂

中国书画装裱的一种式样，详“立轴”。

◇大轴

中国书画装裱的一种式样。详“立轴”。

◇屏条

中国书画装裱的一种式样，由于画身狭长，为四尺或五尺宣纸对开，故能装裱成屏条形式。屏条单独挂的称“条屏”（屏条），四幅并排悬挂的称“堂屏”或“四季（春、夏、秋、冬）屏”。亦有四幅以上多至十二幅甚至十六幅，紧挂相联，成双数的完整画面，称“通景屏”或“通屏”。又称“海幔”。

◇海幔

亦称“海幕”。即“通景屏”。详“屏条”。

◇橫披

中国书画装裱的一种式样。画心竖短横长，左右边称“耳”，尺寸相同，并装对称的木杆一副，腹背有包首，贴有签条。

◇对幅

中国书画装裱的一种式样。通常两幅成对悬挂。如书法对幅，称“字对”，或称、“对联”。明清绘画，有所谓“画对”，两幅大小相等的屏条，悬挂方式与“字对”同。亦有三联幅，对幅中间加立轴，如南宋法常有《猿、观音、鹤》三联幅。通常厅堂正中，中间挂大幅中堂画，两边分挂字对。相传明代收藏家项子京家，“中堂为书法，两边挂画对”，乃属特殊格式。又木版年画门神、两门各贴一幅，亦称“对幅”。

◇斗方

中国书画的一种式样。通常以正方形较多。大小为四尺宣纸的八开或十二开不等。

◇册页

中国书画装裱的一种式样。因画身不大，亦称“小品”。有正方形，也有长方竖形或横形。有推蓬式、蝴蝶式、经摺式三种。也有裱成单片，称为“散装”。一般册页均取双数，少则四开、八开、十开，多则十二开、十六开，也有二十四开。册页外镶边框，前后添副页，上下加板面。欣赏、携带、保藏，均较方便。

◇散装

中国书画装裱的一种式样。详“册页”。

◇手卷

亦称“长卷”、“图卷”。中国书画装裱的一种式样。

历代名画如北宋王希孟《千里江山图》、张择端《清明上河图》，元代黄公望《富春山居图》等，皆为手卷装裱。外有“包首”，前有“引首”，中有作品，紧连其两边的是“隔水”，后有“拖尾”，“包首”之上贴有“题签”。

◇引首

中国书画手卷装裱上所留空白纸方的地位。可以在上面题写。因在开卷时首先看到，故称。参见“手卷”。

◇诗塘

中国画立轴装裱上方所留出的地位。由于画身正方，或过阔过小，裱成立轴，轴长画短，有失均衡，故在画身上方嵌一空白纸方，用以题字，谓之“诗塘”。参见“立轴”。

◇拖尾

中国书画手卷装裱上所留空白纸方的地位。可以在上面题诗作跋。因在开卷至末尾才见到，故称。参见“手卷”。

◇黄山画派

中国画流派之一。以清初宣城（今属安徽）梅氏一家为嫡系，梅清、梅翀、梅庚、梅蔚等，与流寓宣城的石涛，都是长期深入黄山，既师造化又师古人的画家。新安画派主要亦师黄山，故有人主张归入黄山画派，但风格不同，正如渐江与程邃各有特色。

◇虞山画派

简称“虞山派”。中国画流派之一。清代山水画家王翚，先后师王鉴、王时敏，并取法宋元诸家，画名盛于圣祖康熙（1661－1722）间，主要学生有杨晋、顾昉、李世倬、上睿、胡节。金学坚等，翚为江苏常熟人，常熟有虞山，因有“虞山画派”之称。其崇古摹拟风尚，影响颇大。

◇娄东画派

简称“娄东派”。一称“太仓派”。中国画流派之一。清代山水画家王原祁，继其祖父王时敏家法，并仿黄公望法，名重于圣祖康熙（1661-1722）间，一时师承者甚多，以族弟王昱、侄王愫，**黄鼎、王敬铭、金永熙、李为宪、曹培源、华鲲、温仪、唐岱等为著；其后有曾孙王宸、族侄王三锡，以及盛大士、黄均、王学浩等。娄江（即浏河）东流经过太仓，故称“娄东派”此派崇古保守的画风，与“虞山画派”相依托，对后世影响颇大。

◇江西画派

简称“江西派”。中国画流派之一。以清初画家罗牧为代表。罗牧系宁都（今属江西）人，居南昌（今属江西），画山水初得魏石床传授，后学黄公望，笔意空灵，在江淮地区颇有学之者。

◇海上画派

简称“海派”。中国画流派之一。**战争后上海辟为商埠，各地画人流寓上海日众，成为绘画活动的中心，有“海派”之称。其特点：在传统基础上能破格创新，流派自由，个性鲜明；重品学修养；和民间艺术有联系，能达到雅俗共赏；善于借鉴吸收外来艺术；画会兴起，切磋成风。代表画家有赵之谦、虚谷、任颐、吴昌硕、黄宾虹。尚有任熊、蒲华、胡公寿、张熊、吴友如、程璋、吴庆云、任薰、钱慧安、沙馥、黄山寿倪墨耕、赵子云、王一亭、冯超然、郑午昌等。《海上墨林》所记多达七百余人。

◇岭南画派

简称“岭南派”。中国画流派之一。广东地处五岭之南，明清以来，画家不下千人。著名的明代有林良，擅长水墨写意花鸟画，笔墨简括劲挺，豪纵爽辣，开岭南一带画风。宗其法者有高俨（山水画）、陈瑞（花鸟画）；黎简、李魁继起，着重描绘广东山川的特色，前者苍润似吴镇，淡远近倪瓒，后者乃一画工，而技艺精能。清乾隆（1736一1795）间有苏六朋、苏长春，善人物，六朋以人民生活和市井风俗作题材，长春虽常绘神仙佛像，却以南方的凡人作模型。清末有居巢、居廉，善花鸟虫鱼，学恽寿平。现代的番禺高剑父、高奇峰、陈树人早年均师事居廉。高氏兄弟和陈树人后曾留学日本，进修画艺，引进西画技法，作品题材多写中国南方风物，在运用中国画传统技法基础上，融合日本南画和西洋画法，注重写生，创立了色彩鲜艳明亮，水份淋漓饱满，晕染柔和匀净的现代岭南画派的新风格。

◇六朝四家

六朝指三国的东吴、东晋、南朝的宋、齐、梁、陈，皆以建康（吴名建业，今江苏南京）为首都。四家，画史上指东吴曹不兴、东晋顾恺之、南朝宋陆探微、南朝梁张僧繇。唐代张怀瓘评六朝画谓：“张（僧繇）得其肉，陆（探微）得其骨，顾（恺之）得其神。”六朝画罕见，尤以曹不兴之迹无存。元代汤厚认为曹不兴《兵符图》一卷，“笔意神采，疑是唐末宋初人所为”。

◇南宋四家

南宋院体山水画家李唐、刘松年、马远、夏圭四人的合称。属豪纵简略一路画风。初无此称，元代汤厚谓：“南宋画院诸人得名者，若李唐、周曾、马远、夏圭、李迪、李安忠、楼观、梁楷之徒，仆于李唐差加赏识，其余亦不能尽别也。”倡此说者为明代唐寅题刘松年《春山仙隐图》，有所谓“李、刘、马、夏”之称。其后屠隆说：“李唐、刘松年、马远、夏圭，此南渡以后四大家也。”张丑认为：“南宋刘松年为冠，李唐、马远、夏圭次之。”张泰阶则曰：“刘、李、马、夏，俱负重名，而李、马为最。”

◇元四家

元代山水画的四位代表画家的合称。主要有二说：一是指赵孟睢⑽庹颉⒒乒⑼趺伤娜耍鞔跏勒辍兑赵坟囱浴じ铰肌贰6是指黄公望、王蒙、倪瓒、吴镇四人，见明代董其昌《容台别集·画旨》。第二说流行较广。也有将赵孟睢⒏呖斯А⒒乒⑽庹颉⒛哞丁⑼趺珊铣莆霸摇薄；缢涓饔刑氐悖饕即游宕础⒈彼尉奕坏幕∩戏⒄苟矗乇誓幸馊ぃ⒔岷鲜榉ㄊ模窃剿闹髁鳎悦髑辶酱跋旌艽蟆

◇元六家

元代赵孟睢⒏呖斯А⒒乒⑽庹颉⒛哞丁⑼趺傻暮铣啤2渭霸募摇薄

◇南北宗

明代董其昌关于划分山水画家为南北两个派系之说。《容台别集·画旨》：“禅家有南北二宗，唐时始分；画之南北二宗，亦唐时分也，但其人非南北耳。北宗则李思训父子着色山水，流传而为宋之赵斡、赵伯驹、（赵）伯骕，以至马（远）、夏（圭）辈；南宗则王摩诘（维）始用渲淡，一变钩斫之法，其传为张璪、荆（浩）、关（仝）、董（源）、巨（然）、郭忠恕、米家父了（芾、友仁），以至元之四大家（黄公望、吴镇、倪瓒、王蒙），亦如六祖（即慧能）之后，有马驹、云门、临济儿孙之盛，而北宗（神秀为代表）微矣。”又云：“文人之画自王右丞（维）始，其后董源、巨然、李成、范宽为嫡子，若马、夏及李唐、刘松年，又是大李将军之派，非吾曹当学也。”此说与山水画家师承演变的史实不尽符合，且有崇“南”贬“北”之意。明代陈继儒（当时与董其昌并称“董陈”）所说尤为明显：“李派板细，乏士气；王派虚和萧散。”明末清初画坛群起附和，形成以“南宗”为“正统”之见。

◇明四家

明代中叶沈周、文徵明、唐寅、仇英四人的合称。他们之间有师友关系，画艺各具风格特点，对后世颇有影响。沈、文画风较近。后来发展形成了吴门派。明代卓然成家，前期有戴进，中期有林良、吴伟、吕纪，后期有陈洪绶等，沈、文、唐、仇并不能代表整个明代绘事。

◇画中九友

明末清初董其昌、杨文聪、程嘉燧、张学曾、卞文瑜、邵弥、李流芳、王时敏、王鉴等九位画家的合称。见清初吴伟业所作《画中九友歌》。

◇金陵八家

明末清初龚贤、樊圻、高岑、邹哲、吴宏、叶欣、胡慥、谢荪八人的合称。他们的绘画题材和风格不尽相同，因聚居金陵（今江苏南京），皆有一定时誉（以龚贤最著），故称。见清代张庚《国朝画征录》。另指陈卓、吴宏、樊圻、邹哲、蔡霖沦、李又李、武丹、高岑为“金陵八家”，见乾隆《上元县志》。但多以前说为准。

◇清六家

清初山水画家王时敏、王鉴、王翬、王原祁、吴历、恽寿平六人的合称。亦称“四王、吴、恽”。他们继明代董其昌之后享有盛名，领导画坛，左右时风，当时被目为“正统”。