贡布里希作《艺术的故事》,解释艺术何以具有一部历史时,把艺术史看作每一代画家不断面对新问题,解决新问题的历史,六经于此顿开生面。这种方式说明风气嬗变的轨迹极为佳胜,但要描摹那些无意于推陈出新,只致力于“把眼前的画画好”的人却不免笔滞——难怪贡氏一直强调,此种叙事模式不适应中国艺术史,他还反复说,中国的艺术是一种精微的艺术,真正的大师都是一些向前辈大师看齐的人,他们根本无意于别出心裁。相形之下,吾国先贤于师承门派,笔法规矩,给予了更多的关注。正如龚贤的一段题跋所云: Gombrich as “the story of art”, explain why art has a history, the art history as each generation of painters continue to face new issues, solve new problems in history, the Six Era immediately. This is a very good way to illustrate the evolution of the ethos. But to depict those who do not intend to introduce themselves to new ideas, and who are only committed to drawing the good in front, it is no wonder that Gong Geng has always stressed that such narrative The model does not suit the history of Chinese art. He also repeatedly said that Chinese art is a subtle art. The real masters are all those who are in line with the great masters of the past who have no intention at all. In contrast, my sages have given more attention to the sages and the rules of writing. As a section of Gong Xian Postscript cloud: