(一)关于“四家”的说法,是中国艺术史上一种有趣的现象。如南宋有刘松年、李唐、马远、夏圭,明代有沈周、文征明、唐寅、仇英,清初有四王、四僧,诸如此类,代表着艺术批判和历史研究的既定看法。从“元四大家”的情况来看,这种命名法带有约定俗成的性质,并不是天经地义的。在元人评论中,赵孟頫、高克恭是不可缺少的领袖人物。可是,在明中后期的批评家看来,元初画风终究还是过渡性的,只有元末四家才真正完成了划时代的风格创造。因此,人们效法四家画风也就特别普遍。这一事实说明,画家在画史上的成就,可以分成两种,一是 (A) About the “four” is an interesting phenomenon in the history of Chinese art. For example, there were Liu Songnian, Li Tang, Ma Yuan, Xia Gui in the Southern Song Dynasty, Shen Zhou, Wen Zhengming, Tang Yin and Qiu Ying in the Ming Dynasty, and four kings and four monks in the early Qing Dynasty. These represent the established viewpoints of criticism and historical study of art. From the “Yuan four people ” situation, this naming convention with a conventional nature, is not perfectly justified. Commentaries in the Yuan Dynasty, Zhao Mengfu, Gao Kegong is an indispensable leader. However, critics in the mid-to-late period of the Ming Dynasty seem that the style of painting was still transitional in the early days of the Yuan Dynasty. Only the late four succeeded in epoch-making style creation. Therefore, it is particularly common for people to follow the four styles of painting. This fact shows that the painter’s achievements in the history of painting can be divided into two kinds, one is