这幅小品画出自明代“吴门四家”之首的沈周(沈石田)的《卧游图册》。“吴门四家”在明代画坛位置显赫,其中唐寅、文徵明、仇英三位,均与沈周在文化上有一定的师承关系,包括后来大写意花鸟画开山鼻祖陈淳,也曾受教于沈周。由此可以看出,沈周自明清以来在绘画发展进程中所处的重要位置。上承董其昌,下开文人画新面貌,用自己的饱学、敏锐和才情,把文人画从“把玩”的小圈子推向了代表民族文化的高地。沈周一辈子埋头体会画意,梳理画理,将自然与理法关系进行了有益的探索,从不同的角度对传统的技法与自然实景进行重新的搭配、实验和创新。这一切均可在沈周的《卧游图册》《东庄图册》中看到。《卧游图册之十六》所画的江南雾山、杂树、远林,平静而深远,一条河水自山中而来,画面简洁、空灵,以突出 This picture is drawn from Shen Zhou (Shen Ishida), the first book of lying in the Ming Dynasty. “Wu Men Four ” prominent position in the Ming Dynasty painting, in which Tang Yin, Wen Zhengming, Qiuying three, both Shen and Zhou have a cultural relationship with the teacher, including the later capitalist flowers and birds originator Chen Chun, has also been Teach in Shen Zhou. It can be seen, Shen Zhou since the Ming and Qing Dynasties paintings in the development process of the important position. On the subject of Dong Qichang, open a new look under the literati, with their own knowledge, sensitivity and talent, the literati painting from “play ” small circle to represent the heights of national culture. Throughout his life, Shen Zhou immersed himself in painterly painting, combing the art of painting, explored the relationship between nature and law rationally, and reworked, experimented and innovated traditional techniques and natural realities from different perspectives. All this can be Shen Zhou’s “lying atlas” “East Village Atlas” to see. “Lying sixteen map” painted by the southern mist mountains, miscellaneous trees, far forest, calm and far-reaching, a river from the mountain, the picture is simple, ethereal to highlight