《四库全书总目》有云:“正(德)嘉(靖)以上,淳朴未漓。隆(庆)万(历)以后,运趋末造,风气日偷。道学侈谈卓老(李贽),务讲禅宗,山人竞述眉公(陈继儒),矫言幽尚。或清谈诞放,学晋宋而不成;或绮语浮华,沿齐梁而加甚。著书既易,人竞操觚。小品日增,卮言叠煽。”(卷一三二“杂家类”存目)这一段话虽是指著述,实际上对于整个中国文化史包括绘画史的本质转捩,亦可谓一针见血,鞭辟入里。简而言之,正嘉之前,尤以汉唐宋为典型,中国文化包括中国画,乃至各行各业,主要由士人的思想所主导,具体表现为独尊儒术的人格文化,达则为庙堂文化,穷则为山林文化,是为中国文化、中国绘画的古典期。隆万以后的明清文化 “Sikuquanshuzongmu” goes: "Zheng (Germany) Jia (Jing) above, honest not Li. Long (celebration) Wan (calendar) later, Li 贽), to speak of Zen, mountain people Commends Mei Gong (Chen Jiru), Diaoyu Youzan. Or talkative birth, learning Jin and Song failed; or Qi language flashy, Although the passage of this article refers to the passage, it actually means that for the entire Chinese cultural history, including the essence of the history of painting捩, can also be described as sharp-edged, whip into it. In short, Zheng Jia before, especially in the Han and Tang Dynasties as a typical Chinese culture, including Chinese painting, and even all walks of life, dominated by the ideology of scholars, specifically for the Confucian personality culture alone, up to the temple Culture, poverty is the mountain forest culture, is the Chinese culture, the classical period of Chinese painting. Long Ming and Qing Dynasties after the culture