在中国山水画的发展史上,南派和北派一直是风骚各具,并有一批具有理论素养和实践创新的艺术大师。如五代荆浩、关仝的山水高旷峻厚,董源、巨然的山水清远润泽;北宋李成、范宽雄壮坚实,南宋四家硬直清朗;元代四家苍茫空灵;明代吴门四家典雅闲趣;清代四王古朴守旧,四僧清新自然。画风画派的不同,体现着理论主张的差异,更应是一方水土一方人情的具体体现。我向来以为,南方山水俊秀清灵,是一首婉约的小诗:北方山水厚重磅礴,是来自远古的长赋。绘画作品作为“师法自然”的艺术再造, In the history of the development of Chinese landscape painting, the Southern School and the Northern School have always been masters of various genres, and there is a group of masters of art with theoretical accomplishments and practical innovations. Such as the Five Dynasties Jing Hao, the same landscape Gao Kuang thick, Dong Yuan, Juran landscape Qingyuan moist; Northern Song Li Cheng, Fan Kuanzhuang Zhuang solid, the Southern Song Dynasty four hard straight Qinglong; Yuan Dynasty four vast emptiness; Ming Dynasty four elegant door Interesting; Qing Dynasty four ancient simplicity, four monks fresh and natural. Different styles of painting style, reflecting differences in theoretical claims, but also should be a side of the concrete manifestation of one’s feelings. I always thought that the southern landscape Chunxiu Qingling, is a graceful poem: Thick and heavy northern mountains, is from the ancient long Fu. Painting works as a “teacher law natural” art reengineering,