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在中国书画史乃至整个中国历史中,明末清初都算得上是一个特殊的时代。在这一改朝换代的纷纷乱世中,大师频现,巨匠辈出:董其昌(一五五五—一六三六)、王铎(一五九二—一六五二)、王时敏(一五九二—一六八〇)、陈洪绶(一五九九—一六五二)、浙江(一六一〇—一六六四)、石谿(一六一二—一六九二)、龚贤(一六一八—一六八九)、八大山人(一六二六—一七〇五)、石涛(一六四二—一七〇七)……他们中或为师徒,如董其昌与王时敏;或有交往,如石涛与八大山人,龚贤与石谿等人。他们同气相求,继承了晚明书画风格及理念,具有共同的艺术追求,同时,个人迥异的生平经历又使得他们的书画面貌各具特色,可谓各领风骚。
In the history of Chinese calligraphy and painting throughout the history of China, the late Ming and early Qing dynasties are regarded as a special era. In the midst of this turbulent chaos of dynastic changes, the masters frequently appear. Among them, Dong Qichang (1555 - 1636), Wang Duo (1592 - 1652), Wang Shimin (1592 - One hundred sixty-eight), Chen Hongshou (1599-1652), Zhejiang (161-16664), Stony Brook (1612-1669), Gong Xian Six one eight - one six eight nine), Bada Shanren (1626 - 1705), Shitao (1642 - 1707) ...... among them or as apprentices, such as Dong Qichang and Wang Shimin ; Or have contacts, such as Shitai and Bada Shanren, Gong Xian and Stony Brook and others. They inherited the style and concept of calligraphy and paintings in the late Ming Dynasty and shared common artistic pursuits. At the same time, they experienced different lives and made their calligraphers look different and distinctive.