中国绘画源远流长,历经汉魏、唐、五代至两宋时期,山水画、花鸟画、人物画、宗教画、风俗画等画科相继走向独立、成熟,并取得了巨大成就。尤其是宋代,由于政治、经济、文化等因素的影响,画科呈现出百花齐放,争奇斗艳的繁荣景象。然而,到了元代,山水画一反宋代尚“形”求“理”之风,极力追求“山中有我”之境,以绝对的优势压倒了人物和花鸟画而居于主导地位。元代画家追求简淡,强调写心,寄情山水的特殊审美趋向,这不是偶然现象,而是有着主观和客观多种 Chinese painting has a long history. After the Han, Wei, Tang and Five Dynasties to the Song Dynasties, landscape painters, flower and bird paintings, figure paintings, religious paintings and genre paintings have gradually become independent, mature and have made great achievements. Especially in the Song Dynasty, due to political, economic, cultural and other factors, the art department showed a prosperous scene of flourishing flowers and contests. However, by the Yuan dynasty, the landscape painting returned to the Song Dynasty with the style of “seeking truth and seeking truth from the Song Dynasty”. It tried its best to pursue the goal of “having me in the mountains” and overwhelming the characters and flowers and birds in dominance status. The painters of the Yuan Dynasty pursued the simple, emphasizing the special aesthetic tendency of writing the heart and sending greetings to the landscapes. This is not an accidental phenomenon, but a subjective and objective variety