在中国传统绘画的发展历程中,重彩画与水墨画一直贯穿始终。尽管重彩画诞生的时间要早于水墨画,但实际上水墨一直占据着画坛的主要地位,且发展迅速。从唐代后,就已经有了“画道之中,水墨最为上之说”了,这与中国传统文人的思想和追求有关,宋代苏轼即有画论,明确了“士人画”与“画工画”之分,而从事重彩画的一般都为旧时的画工,从身份地位及受教育的程度上,都明显逊于文人士大夫。明代董其昌在其著名的“南北宗论”中,更是将青绿山水及工笔重彩、岩彩画划分到了北派一系,被称作做“画工画”而受到轻视,甚至遭到批判。 In the course of the development of traditional Chinese painting, heavy color painting and ink painting have been running through. Although heavy painting was born earlier than ink painting, in fact, ink painting has always occupied the main position of the painting circle, and the rapid development. Since the Tang Dynasty, there have been “paintings, ink and washings,” which is related to the ideology and pursuit of Chinese traditional literati. In the Song Dynasty, there was a painting theory of Su Shi, which made it clear that “scholars’ paintings ”And “ Painter ”, while those who engaged in heavy color painting are generally old painters, who are clearly inferior to the literati and doctor in their status and education. Ming dynasty Dong Qichang in his famous “North-South Sect Theory ”, but also the green landscape and meticulous colors, rock paintings divided into a group of North faction, is called doing “painting art” and subjected to contempt, and even suffered To criticize.