中国绘画史中,绘画作为叙事的重要载体,叙事性绘画一直以来都没有停止。此类作品一般都是选取一个富有戏剧性的瞬间来表现。因为“教化”的缘故也是因为“教化”的需要,“列女”一直也是长盛不衰的绘画主题,广州艺术博物院院藏的元代《四烈妇图册》就是一组时代烙印鲜明、绘画语言独特的“列女”题材作品。这套册页最显著的特点,是属于人物画与山水画相互结合的样式,栩栩如生的人物在此画面中并非占主要位置,这与一般的叙事性绘画尤其是说教性列女图有区别。画家以其在山水、人物、界画等极为全面的艺术修为和巧妙的构图与章法,把特定历史情境、特定人物和事件方式表现出来,创造出以山水为主体、人物为点睛的将山水、人物、界画融为一体的范例,风格语言上十分协调统一,充分展现出这位佚名画家娴熟精巧、无懈可击的高超技法,在艺术上具有很高的水准,并不因为其教化功能而损害其审美功能,不愧为元代人物画中的精品。 In the history of Chinese painting, painting as an important carrier of narrative, narrative painting has never ceased. Such works are generally selected a dramatic moment to performance. Because “enlightenment ” is also due to “enlightenment ” needs, “column woman ” has always been the theme of the painting everlasting painting, the Guangzhou Museum of Art Museum possession of the Yuan Dynasty “Four Brothers atlas” is A group of times distinctive brand of unique painting language “column female ” theme works. The most striking feature of this album is the combination of portrait painting and landscape painting. The lifelike people are not the main places in this picture, which is different from the general narrative paintings, especially the narrative women. With its extremely comprehensive art and clever composition and rules in landscapes, figures, and boundary paintings, the painter presents the specific historical situations, specific figures and events, and creates landscapes with the landscape as the main body and the landscape as the finishing touch , Figures and paintings together. The style and language are very coordinated and unified, fully demonstrating the skillful, impeccable technique of this anonymous painter, which is of a high standard in art and does not suffer from its enlightenment function Its aesthetic function, worthy of the Yuan Dynasty figure paintings in the boutique.