中国自古有“书画同源”的说法,即在汉字产生之前,用来表义的符号亦书亦画,无可分别。而在文字产生以后,书画也就分流了。到了宋代,苏轼提出了“士人画”的概念(即“文人画”)。士人画和当时的画工画,画院画是不同的。画院也好,画工也好,都是不自由的,都得听命于他人。所以,苏轼认为士人画要优于画工画和画院画。他说:“观士人画,如阅天下马,取其意气所到。乃若画工,往往只取鞭策皮毛槽枥刍秣,无一点俊发,看 Since ancient times, China has the idea of ​​”homologous painting and calligraphy“. That is, before the Chinese characters were produced, the symbols and symbols used for the notation were also painted and indispensable. After the text was produced, calligraphy and painting also shunted. In the Song Dynasty, Su Shi put forward the concept of ”Scholar Painting“ (ie, ”Scholar Painting“). Scholar painting and painting at that time, painting is different. Art Institute Ye Hao, artisans Ye Hao, are not free, have to listen to others. Therefore, Su Shi believes that Scholar Painting is superior to painting and painting. He said: ”Guanzhusian painting, such as reading the world horse, whichever comes from Italy .If the painter, often only to promote fur Furun Chu, without a little hair, look