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中国文人画常藉山水花乌草木,或聊以寄慨,或抒发性灵,或如骨鲠在喉一吐为快,画亦虽画,却是另一种意境,另一种表达。历代画院重精工、富丽、形似,而自晋顾恺之至于唐代王维,讲究气韵生动,且一脉相传,至元代形成以元四家为代表的中国文人画的高峰,其时因蒙古人入主,经一度乱离,士大夫隐逸成了风气,使绘画向高蹈发展,立意于浑朴中见超脱,用笔则刚健中含婀娜。而至明清则蔚为壮观,大师迭出,追求平淡天趣, “不事粉饰而神彩生焉”,在世界绘画史上形成一道迥异独特的风景。譬如元倪瓒画竹,则以此写胸中逸气,岂复较其似与非,叶之繁与疏,枝之斜与直哉?明徐渭画雪里梅花,以劲健的飞白笔触断续支离地画出梅枝和不全的花朵,然后以淡水墨留出干枝花朵和积雪,全染背景,表现了梅花傲雪耐寒的特性,亦体现了他孤傲不屈的个性情感。清八大山人,是朱明后裔,画鸟多怪异,多画四方眼,内含不平、仇恨、鄙夷之目光,即使八大签名, “八”字时而向内收缩,则仿佛“哭之”,似表达了他对明朝灭亡之恨之悲。由此,中国文人画之特质可见一斑。
Chinese literati paintings often use landscapes, flowers, and squishy trees, or send messages of condolences, or evoke spirits, or if bone licks in the throat, and paint, although painting, it is another artistic conception and another expression. The ancient academy was re-worked, rich and similar, and from the Jin Dynasty to the Tang Dynasty Wang Wei, the Tang Dynasty Wang Wei, pays attention to the vividness of the rhyme, and it is passed down from one source to another. The Yuan Dynasty formed the peak of the Chinese literati painting represented by the Yuan 4 family. After a period of disintegration, the recluse of scholar-bureaucrats became a ethos, which made the painting develop towards a high degree. It was intended to see detachment in simplicity, and use a pen to be a healthy person. In the Ming and Qing Dynasties, it was spectacular, and the masters came out again and pursued plain and interesting. “Nothing to decorate, but there is nothing wrong with it”, a strange and unique landscape was formed in the history of world painting. For example, Yuan Ni’s drawing bamboo is written as a breather in his chest, and his complexion is more like or not, and the leaf is complex and sparse. The branch is oblique and straight. Ming Xu is painting plum blossoms in the snow, and he uses Jin Jian’s flying brush strokes to interrupt. She painted branches and incomplete flowers, and then used fresh water ink to leave dried branches and flowers. The background was dyed to show the cold-resistant characteristics of Ao-Xue’s plum blossoms, and also reflected his aloof and indomitable personality. The people of the Eight Mountains in the Qing Dynasty were descendants of Zhu Ming. They drew more bizarre birds and painted more than four eyes. They contained injustice, hatred, and contempt. Even if the eight signatures, the “eight” character shrank inwards, it was like “crying”. It seemed to express his grief over the hatred of the Ming Dynasty. From this, the characteristics of Chinese literati painting are evident.