明清画家众多、流派纷呈,但在以文人水墨画为主流的画坛,乐于探索青绿山水的画家十分稀少,而且大多是兼善水墨与青绿,几乎没有再出现像前代那样专事青绿山水创作的画家。其中,大部分作品又以小青绿的形式出现,文人审美成为各种艺术样式都不能忽略的风向。文人画家如沈周,也偶有尝试青绿山水画创作,但数量极少;画风与主流大异其趣的小名头画家张宏,也留有青绿山水精品,但也极为有限。真正在明清两代青绿山水领域有所造诣的,是“明四家” In the Ming and Qing Dynasties, there are many artists and schools of various genres, but painters who are willing to explore the green landscape are very few in the traditional painting circles with literati ink painting. Most of them are both good ink and green, and there is almost no such painter as Qing Dynasty landscape creation . Among them, most of the works appear again in the form of little green vermilion, and the aesthetics of literati has become a trend that can not be neglected in all kinds of artistic styles. Scholar painters such as Shen Zhou, also occasionally try to create green landscape paintings, but a very small number; style and the mainstream of the strange little painter Zhang Hong, but also leave the green landscape, but also very limited. Really green fields in the Ming and Qing dynasties have accomplished, is “Ming four”