为什么"王画"会成为新文化运动的众矢之的?为什么一个发端于偏壤的画派会统领清代画坛数百年?四王的绘画艺术究竟有什么特别之处?围绕着这个画派的起落沉浮发生了什么动人的故事?

20世纪20年代前后，北洋军阀统治前期，在中国满布阴霾的天空中，响起一声春雷，一场崇尚科学、反对封建迷信、抨击几千年封建思想的文化启蒙运动──新文化运动爆发了。

出人意料的是，在这场文化革命中，属于美术范畴的中国画会成为重要内容之一。1919年1月，中国新文化运动的重要领袖陈独秀在《新青年》杂志撰文，"若想把中国画改良，首先要革王画的命。因为改良中国画，断不能不采用洋画写实的精神。"

改良中国画的主张并非陈独秀首创。最早提出改良中国画的是戊戌变法领袖康有为。1917年，康有为在自己的美术史论著《万木草堂藏画目》的序言中明确提出"中国近世之画衰败极矣，由画论之谬也。请正其本，探其始，明其训。"

也就是在新文化运动中，后来深深地影响了现代中国画的徐悲鸿也发出了"中国画学之颓败，至今日已极矣"的哀叹。

在这样一批名宿大家的推波助澜声中，中国的文化领域迎来了一次"美术革命"，美术革命的对象正如陈独秀所言，是要革"王画"的命。

所谓王画，指的是四位姓王的画家---王时敏、王原祁、王鉴、王翚的作品。

在太湖进入东海的三条主要河流之一的娄江东面，是著名的历史名城太仓，也称娄东。这里不仅是郑和七下西洋的始发地，也是昆曲和江南丝竹的发源地。300多年前，这里还诞生了一个在中国美术史上举足轻重的画派，这个画派的影响力甚至一直延续到了今天。这就是以王时敏、王原祁、王鉴为核心的"娄东画派"。

娄东画派是清代初期，一直延续到清代中晚期一个在江苏的重要画派。这个山水画派不仅仅在江苏地区流行得非常广泛，甚至影响到全国。

娄东画派的代表人物都姓王，王姓在明清时期一直是太仓的望族。在中国美术史上，娄东画派和四王是两个相互纠缠和重叠的概念。四王中的三王---王时敏、王鉴、王原祁都出生在太仓，王翚则出生在离太仓不远的虞山。王翚年轻时就追随王鉴学画，后经王鉴介绍，到太仓做了王时敏的入室弟子，日后自成一派称为虞山画派。

娄东画派与四王画

四王在娄东一带，学习和推崇以明代画家董其昌倡导的南宗山水画法，很快就形成了特有的娄东画风。

在绘画风格与艺术思想上，娄东画派深受董其昌的影响，他们大量临 摹古人作品，在借鉴古人

立意、布局、运笔、色彩、线条等方面达到了登峰造极的地步。他们在以临古为主的艺术实践中积累了深厚的笔墨功夫，重视笔墨的趣味和美感，在作品中表现出平淡天真、超逸萧散的文人画审美特征。

 一个发端于偏僻的娄水之畔的画派，为什么能够成为统治中国画坛近300年的盟主呢?对这个画派产生重要影响的董其昌究竟是个什么样的人，又究竟起了怎样的作用呢?事情还得从清兵入关的时候说起。 清顺治二年，也就是1645年6月，南征的清军已经围城3天。就在不久前，传来了清军在扬州和嘉定屠城的消息。兵临城下，太仓城中有威望的士族们聚在一起商量对策，这其中就有曾在明崇祯朝做过太常寺卿的王时敏。

天平的一头是名节，一头是全城百姓的生命，孰轻孰重?王时敏在痛苦和矛盾中反复挣扎。

终于，在血色残阳中，王时敏承受着常人难以承受的压力，率领士绅们打开了太仓的城门。

降清之后，王时敏拒绝了满清朝廷的入仕邀请。这位背负着极大精神压力的老人把余生都倾注在了读书作画上。正是因为王时敏寄情于山水的逃避，才有了后来的娄东画派，他的孙子王原祁

才能成为引领一代画坛的杰出领袖。

王家四代人从王锡爵开始，历任明清两朝的重臣。权重一时，又是文人世家，收藏了大量的名人字画，收藏之富在江浙一带是屈指可数的。

王时敏的孙子王原祁就是在名人真迹的浸泡下长大的，从小在他的思想中打下了一个深深的烙印。

王时敏非常钟爱这个孙子，竭尽所能传授绘画技艺。王原祁从小就显示出极高的绘画天赋。据说曾经有一次，王时敏看到书房的墙上挂着一幅画，怎么也想不起来是什么时候画的，直到小孙子笑出声来，才惊诧地发现，这幅和自己难辨真伪的画居然是13岁的孙子画的。

尽管收藏有大量的名人真迹，但王时敏指导孙子用的教材，最主要的却是一本他自己年轻时学画用的册页，册页是他的老师董其昌亲手绘制的。

董其昌

说到娄东画派，董其昌是一位不得不说的人物。董其昌字玄宰，官至南京礼部尚书，曾做过太子的老师。明代后期著名的画家、书法家、书画理论家、书画鉴赏家。他在中国美术史上的突出贡献，就是提出了南北宗画论。他按照佛教禅宗的分法把中国画分为南北两宗，两宗的主要区别是风格:南宗是文人画，有书卷气，有天趣，是"顿悟"的表现;北宗是行家画，只重苦练，无天趣可言，是"渐修"的表现。董其昌在《画禅室随笔》中将中国绘画分为南北宗时，将绘画的目的是"为寄"、"为乐"，还是"为功"、"为利"，作为衡量判别一位画家究竟隶属何方阵营的重要尺度。

董其昌崇南贬北的绘画思想，深刻地影响了王时敏、王原祁，深刻地影响了整个娄东画派。

当时的董其昌已经是名满天下的大家，能够得到他亲自传授的人寥寥无几。在王锡爵还在明朝任首辅的时候，由他一手提携起来的董其昌就已经成为王家的绘画教师，王时敏和董其昌的关系实质上是半师半友的关系。

王时敏尽得董其昌衣钵，他又把这衣钵原原本本地传给了孙子王原祁。

大量学习真迹，爷爷的悉心传授，加上天资聪颖，王原祁很快成长为一名远近闻名的画家。

清代著名画家数以千计，王原祁为什么能够脱颖而出，成为有清一代画坛的领袖人物?这和王原祁尽得董其昌的精髓，画风酷似董其昌有着莫大的关系。因为，就在王原祁出名的时候，北京的紫禁城里出了一位同样是天资聪颖的皇帝，他不仅酷爱书画，而且酷爱董其昌。

清康熙四十一年，也就是公元1702年。坐落在北京朝阳门外的东庙刚刚被整修一新，康熙皇帝带着许多文武大臣一起到东庙参加落成法会。皇帝为庙宇题写匾额是法会上少不了的头等大事，令人意外的是，康熙刚刚为东庙题写完匾额，又提笔专门书写了"谷诒堂"三个字，赐给了随行的一位大臣。

这位地位特殊、备受荣宠的大臣，就是来自江苏太仓的画家王原祁。两年前，他刚刚被康熙钦点进入南书房担任供奉画家。

这一年，王原祁已整整60岁了。或许连他自己也没有想到，在他生命中的最后15年，会得到大清皇帝的赏识，从此官运亨通、地位显赫。

王原祁先在康熙南书房为内廷鉴定书画，后来奉旨主持编纂了中国书画史上的一部类书巨著---《佩文斋书画谱》。70岁以后，王原祁荣升翰林院掌院学士、经筵讲官，画名大噪朝野。

作为一位文化艺术素养极高的皇帝，康熙对董其昌可谓是推崇备至。他曾说过"董其昌书法，天姿迥异，其高秀圆润之致，流行楮墨间，非诸家所能及也。在绘画方面，康熙也非常赞同董其昌的南北宗画论，以温润平和的南宗画法为正统。康熙的喜好同样也决定了一个时代艺术的走向。

康熙喜欢董其昌，画法和风格都尽得董其昌精髓的王原祁自然就因此备受恩宠。这种恩宠并不仅仅对王原祁，也泽被了以董其昌为指归的整个江南画家群体乃至文人阶层。于是，一个以王原祁为领袖，以王氏家族画家为核心的画派开始迅速崛起和壮大，集结了数以千计以南宗画法为创作

纲领的山水画家。这在中国美术史上是前所未有的。

自幼就受中原儒家文化熏陶的康熙，当然知道笼络汉族知识分子对于巩固大清政权有多么重要。他采取了一系列措施，消除汉族文人对政府的抵触和隔阂。

康熙要笼络汉族的文化人，这个时期正好也是他对汉族的文化和艺术很有兴趣，于是就倡导董其昌的字，实际上也是封建统治的一种手段。而对于像顾炎武、黄宗羲这样在学术界有威望而又拒不出仕的人物，康熙也一概包容，从不追究。王原祁的爷爷王时敏就属于这样的情况。

在康熙23年，康熙皇帝第一次南巡的时候，路过曲阜，专门去拜谒孔庙。他带着一行人马，在孔庙门外就下了马，然后走入甬道之后，他对着孔子的像行三跪九叩大礼。在当时来讲，对汉族的士大夫和汉族的官吏们影响非常大，康熙皇帝用他自己的行动来证明他是尊重儒家文化，尊重汉人传统所遵从的孔子的这种先知先圣，所以他在拜谒孔庙的时候，同时也给孔庙大成殿写了匾额---"万事师表"，一直到今天这个匾还在曲阜的大成殿里面挂着。

当康熙对着孔子这位汉族文人心目中的圣贤拜倒的那一刻，无数汉族知识分子的内心已经完成了对异族统治者的认同。

重用王时敏的孙子王原祁，使之成为天下画坛的领袖，也是康熙笼络汉族知识分子的重要手段之一。

康熙自己对汉文化有兴趣，从统治的角度来看，他必须精通汉文化，必须团结汉族的文化精英，他的统治地位才能够巩固。他对娄东画派的爱好，并把其放到一个相当重要的位置，都是跟他的这个观点和思想是一致的。娄东画派也是因为有康熙的这种抬举和倡导才能够形成力量。

满清统治者对于汉族文人的怀柔政策逐渐得到了认同，满清王朝也迎来了持续百年的康乾盛世，而发端于太仓的娄东画派也开始成为众人追随、引领中国画坛的第一画派。

然而，就是这样一个统领画坛数百年的第一画派，在近现代的地位却一落千丈。

在西方文化介入近现代中国文化变革，西方艺术成为现代中国艺术的主要参照系的情况下，康有为、陈独秀把矛头直指王画，后来在现代中国画坛有举足轻重地位的徐悲鸿等人又把这一思想延续了半个世纪，娄东画派的作品几乎成了反面教材，被视为腐朽和落后的代表。这是因为四王代表的是一种对传统技术的集大成，在四王时代已经把所有的传统技法、观念做了一个荟萃。

直到20世纪80年代，改革开放的中国以博大的胸怀吸纳来自世界各地的文化，视野逐渐开阔了的中国画坛才开始重新审视娄东画派，认真品味那些诞生在康乾盛世的伟大作品，王画的艺术和社会价值因此被重新发现。

太仓的文化底蕴，娄东画派的传承，非常重要的方面是他在群众之中，在民间。

今天，当我们再回过头去看明清的绘画，宋元的绘画，我们没有办法超越，我们拿不出一个整套的哲学、文化、美学体系，能够再画出一种新的绘画，能够跟那个时候去相提并论。

 王时敏是娄东派的奠基人，就像沈周在吴门派中的地位一样。王原祁则是娄东派的领袖，如同文征明在吴门派中的地位一样。而娄东成为一个流派，是在王原祁取得显赫地位，影响扩大，追随者日多的时期。

应列入娄东派的主要画家，有作为原祁弟子的黄鼎、唐岱、华鲲、王敬铭、金永熙、李为宪、曹培源、温仪等，还有族弟王昱、王愫，其后之曾孙王宸、族侄王三锡、王玖、王学浩、张宗苍、方士庶、盛大士、黄均等亦为娄东传人。

 Why did "Wang Painting" become the target of the New Culture Movement? Why did a painting school originating from a remote area dominate the painting circle of the Qing Dynasty for hundreds of years? What was the special feature of the painting art of the four kings? What moving story happened around the ups and downs of this painting school?

Around the 1920s, during the early period of the Northern Warlords'rule, a spring thunder sounded in the cloudy sky of China, and a cultural enlightenment movement, the New Culture Movement, which advocated science, opposed feudal superstitions and criticized feudal ideas for thousands of years, broke out.

Unexpectedly, in this cultural revolution, the Chinese Painting Association, which belongs to the category of fine arts, has become one of the important contents. In January 1919, Chen Duxiu, an important leader of China's New Culture Movement, wrote in New Youth magazine, "If you want to improve Chinese painting, you must first change the life of Wang Painting. Because of the improvement of Chinese painting, the spirit of realism in foreign painting must be adopted. "

Chen Duxiu did not initiate the idea of improving Chinese painting. Kang Youwei, the leader of the Reform Movement of 1898, first proposed to improve Chinese painting. In 1917, Kang Youwei clearly put forward in the preface of his art history book The Painting Catalogue in Wanmucaotang that "the decline of modern Chinese paintings is extreme, which is also the fallacy of painting theory. Please correct the original, explore its beginning and make clear its lessons. "

That is to say, in the New Culture Movement, Xu Beihong, who later deeply influenced modern Chinese painting, also lamented that "the decadence of Chinese painting has gone to extremes today".

In such a group of celebrities and hostesses, China has ushered in a "art revolution" in the cultural field. The object of the art revolution, as Chen Duxiu said, is to change the life of "Wang Painting".

The so-called Wang Painting refers to the works of four painters surnamed Wang Shimin, Wang Yuanqi, Wang Jian and Wang Fei.

In the east of Loujiang River, one of the three main rivers that enter the East China Sea, Taicang, also known as Loudong, is a famous historical city. This is not only the origin of Zheng He's seven voyages to the Western Ocean, but also the birthplace of Kunqu Opera and silk bamboo in the south of the Yangtze River. More than 300 years ago, there was also a school of painting which played an important role in the history of Chinese fine arts. The influence of this school has even continued to this day. This is the Loudong School with Wang Shimin, Wang Yuanqi and Wang Jian as its core.

Loudong School of Painting was an important school in Jiangsu in the early Qing Dynasty, which lasted until the middle and late Qing Dynasty. This School of landscape painting is not only very popular in Jiangsu area, but also affects the whole country.

The representative figures of Loudong Painting School were all surnamed Wang, who had always been a prominent family in Taicang during the Ming and Qing Dynasties. In the history of Chinese art, Loudong School and Four Kings are two intertwined and overlapping concepts. Three of the four kings, Wang Shimin, Wang Jian and Wang Yuanqi, were born in Taicang, while Wang Fei was born in Yushan, not far from Taicang. Wang Jian followed Wang Jian's paintings when he was young. After Wang Jian's introduction, he went to Taicang to become Wang Shimin's disciple and later became a school of his own called Yushan Painting School.

Loudong School of Painting and Four Kings'Painting

In Loudong area, the four kings studied and respected Nanzong landscape painting method advocated by Dong Qichang, a painter of the Ming Dynasty, and soon formed a unique style of Loudong painting.

In terms of painting style and artistic thought, Loudong School was deeply influenced by Dong Qichang. They copied a lot of ancient works and learned from them.

Conception, layout, brushwork, color, line and other aspects have reached the peak. They have accumulated profound brush and ink skills in the artistic practice mainly based on Lingu. They attach great importance to the taste and aesthetic sense of brush and ink, and show the aesthetic characteristics of plain and naive literati paintings.

Rise

Why can a painting school, which originated from the remote Loushui River, become the leader of the Chinese painting circle for nearly 300 years? What kind of person is Dong Qichang, who has an important influence on this painting school, and what role does it play? It still needs to start from the time when the Qing army entered the Customs. In June 1645, the Qing army of the Southern Expedition had besieged the city for three days. Not long ago, the news came that the Qing army was slaughtering in Yangzhou and Jiading. In Taicang City, there were prestigious scholars gathered to discuss countermeasures. Among them, Wang Shimin, who had been a Taichang Temple Qing in the Chongzhen Dynasty of the Ming Dynasty, was one of them.

One end of the scale is the celebration of fame and the other is the life of the people in the whole city. Which is more important? Wang Shimin struggled repeatedly in pain and contradiction.

Finally, in the bleeding sun, Wang Shimin was under unbearable pressure and led the gentry to open the gate of Taicang.

After the fall of the Qing Dynasty, Wang Shimin refused the invitation of the Manchu and Qing dynasties. The old man with great mental pressure devoted the rest of his life to reading and painting. It is because Wang Shimin put his affection on the escape of mountains and rivers that the later Loudong School of Painting, Wang Yuanqi, his grandson, came into being.

Only in this way can we become an outstanding leader in leading a generation of painting circles.

The four generations of Wang family began with Wang Xijue, and successively served as important ministers in the Ming and Qing dynasties. At the same time, it is also a literati family, which collects a large number of celebrity paintings and calligraphy. The wealth of the collection is countable in Jiangsu and Zhejiang.

Wang Yuanqi, Wang Shimin's grandson, grew up under the immersion of the true works of celebrities, and laid a deep imprint on his thoughts from an early age.

Wang Shimin loved this grandson very much and tried his best to teach painting skills. Wang Yuanqi has shown great talent in painting since childhood. It is said that once, when Wang Shimin saw a picture hanging on the wall of his study, he couldn't remember when it was painted. It was not until his little grandson laughed that he was surprised to find that the painting was actually painted by his 13-year-old grandson.

Despite a large collection of authentic works of celebrities, Wang Shimin's textbook for Sun Tzu's guidance is mostly a pamphlet for his own painting in his youth, which was painted by his teacher, Dong Qichang.

Dong Qichang

Speaking of the Loudong School of Painting, Dong Qichang is a figure that has to be said. Dong Qichang, Xuanzai, was a teacher of the Prince when he went to Nanjing Rite Department to write a book. Famous painters, calligraphers, theorists and connoisseurs of calligraphy and painting in the late Ming Dynasty. His outstanding contribution in the history of Chinese art is to put forward the Northern and Southern Painting Theory. According to the division of Buddhist Zen, he divides Chinese painting into two sects: the southern sect is a literati painting, with scholarly, interesting and "insightful" performance; the northern sect is an artist painting, which only emphasizes hard practice and has no interesting day, and is the performance of "gradual cultivation". When Dong Qichang divided Chinese painting into the Southern and Southern Sects in his Essays on Painting Chan Chamber, he regarded the purpose of painting as "for sending", "for pleasure", or "for merit" or "for profit", as an important yardstick to judge which camp a painter belongs to.

Dong Qichang's painting thought of choosing the South and relegating to the North profoundly influenced Wang Shimin and Wang Yuanqi and the whole Loudong School of Painting.

At that time, Dong Qichang was already a well-known person in the world. Few people could get him to teach him personally. When Wang Xijue was the first assistant in the Ming Dynasty, Dong Qichang, who was brought up by Wang Xijue, became a painting teacher of the Wang family. The relationship between Wang Shimin and Dong Qichang was essentially a half-teacher-half-friend relationship.

Wang Shimin got Dong Qichang's clothes bowl, which he handed down to his grandson Wang Yuanqi.

Wang Yuanqi grew up to be a well-known painter with a great deal of learning, his grandfather's attentive teaching and his talent.

There are thousands of famous painters in Qing Dynasty. Why did Wang Yuanqi stand out and become a leading figure in the field of painting in Qing Dynasty? This has a great relationship with the essence of Dong Qichang, whose style of painting is very similar to Dong Qichang's. Because, just when Wang Yuanqi was famous, an equally talented emperor appeared in the Forbidden City of Beijing. He not only loved painting and calligraphy, but also loved Dong Qichang.

The forty-first year of Kangxi in the Qing Dynasty was 1702 A.D. The Dongmiao, located outside Chaoyang Gate in Beijing, has just been renovated. Emperor Kangxi took many ministers of culture and military affairs to the Dongmiao to attend the completion of the Fair. The emperor's inscription of temples was a top priority in the law society. It was surprising that Kangxi had just finished inscribing the inscription of the East Temple and had written the words "Gu Yitang" in his pen, which was given to a minister accompanying him.

Wang Yuanqi, a painter from Taicang, Jiangsu Province, is a minister with special status and great favor. Two years ago, he was appointed by Kangxi to serve as a painter in the Southern Study.

This year, Wang Yuanqi was 60 years old. Perhaps even he did not think that in the last 15 years of his life, he would be appreciated by the Emperor of the Qing Dynasty, from which official fortune and prominence would prevail.

Wang Yuanqi first appraised painting and calligraphy for the Neiting Court in Kangxi Nan Studio, and later compiled Pei Wenzhai's Book of Calligraphy and Painting, a great book in the history of Chinese painting and calligraphy. After the age of 70, Wang Yuanqi Rongsheng, a Bachelor of science and a lecturer of Jingyan in Hanlin Academy, painted a famous name in court.

As an emperor with high cultural and artistic literacy, Kangxi was highly respected by Dong Qichang. He once said that "Dong Qichang's calligraphy has a very different style. Its elegance and roundness are beyond the reach of all scholars. In terms of painting, Kangxi also very much agreed with Dong Qichang's Southern and Northern Painting Theory, with the gentle and peaceful Southern Painting as the orthodoxy. Kangxi's preferences also determine the trend of art in an era.

Kangxi liked Dong Qichang, and Wang Yuanqi, who had the best painting and style of Dong Qichang, was naturally favored. This kind of favor is not only for Wang Yuanqi, but also for the whole group of Jiangnan painters and even the literati classes who are referred to by Dong Qichang. As a result, a painting school with Wang Yuanqi as its leader and Wang family as its core began to rise and grow rapidly, gathering thousands of Southern Painting as its creation.

Landscape painters of the program. This is unprecedented in the history of Chinese art.

Kangxi, who had been influenced by Confucian culture in Central Plains since childhood, certainly knew how important it was for consolidating the Qing regime to attract Han intellectuals. He took a series of measures to eliminate the conflict and estrangement between the Han literati and the government.

Kangxi wanted to enclose the cultural people of the Han nationality. This period was also a time when he was very interested in the culture and art of the Han nationality. So he advocated Dong Qichang's character, which was actually a means of feudal rule. Kangxi also tolerated and never investigated those figures who had prestige in academia but refused to be an official, such as Gu Yanwu and Huang Zongxi. Wang Shimin, Wang Yuanqi's grandfather, belongs to this situation.

In the 23 years of Kangxi, when Emperor Kangxi made his first Southern Tour, he passed Qufu and went to visit Confucius Temple. He took a group of horses and dismounted outside the gate of the Confucian temple. Then he walked into the Yongdao Road. He knelt three times and bowed nine times to the image of Confucius. At that time, it had a great influence on the scholar-bureaucrats of the Han nationality and the officials of the Han nationality. Emperor Kangxi used his own actions to prove that he respected Confucian culture and the tradition of the Han people, which was the prophet sage of Confucius. So when he visited the Confucian Temple, he also wrote a plaque - "Master of All Things" for the Grand Hall of the Confucian Temple. To this day, the plaque is still hanging in the Dacheng Hall of Qufu.

When Kangxi worshipped Confucius, a sage in the minds of the Han literati, innumerable Han intellectuals had completed their recognition of the alien rulers.

Reusing Wang Yuanqi, Wang Shimin's grandson, to become the world's leader in painting, is also one of the important means of Kangxi to attract Han intellectuals.

Kangxi himself is interested in Han culture. From the point of view of domination, he must be proficient in Han culture and unite the cultural elite of the Han nationality so that his dominant position can be consolidated. His hobby for Loudong School of Painting and putting it in a very important position are consistent with his views and ideas. Loudong School of Painting is also because of Kangxi's promotion and advocacy to form strength.

The gentle policy of the rulers of the Manchu Dynasty towards the Han literati was gradually recognized. The Manchu Dynasty also ushered in the prosperous period of Kangxi and Qianxi, which lasted for a hundred years. The Loudong School of Painting, which originated in Taicang, began to become the first school to follow and lead the Chinese painting world.

However, it is such a first school that has dominated the painting world for hundreds of years, but its status in modern times has declined dramatically.

When Western culture intervened in the transformation of modern Chinese culture and Western art became the main reference frame of modern Chinese art, Kang Youwei and Chen Duxiu pointed their spears at Wang Painting. Later, Xu Beihong, who played an important role in modern Chinese painting circle, extended this idea for half a century, and several works of Loudong School of Painting were produced. It has become a negative textbook and is regarded as the representative of decay and backwardness. This is because the "Four Kings" represent a collection of traditional technologies, and in the "Four Kings" era, all traditional techniques and concepts have been gathered together.

It was not until the 1980s, when China's reform and opening-up policy absorbed cultures from all over the world with a broad mind, that the Chinese painting circle gradually broadened its horizons and began to re-examine the Loudong School of Painting and seriously appreciate the great works born in the prosperous period of Kangxi and Qianlong Dynasties, that the artistic and social values of Wang Painting were rediscovered.

The cultural heritage of Taicang and the inheritance of Loudong School of Painting are very important for him to be among the masses and among the people.

Today, when we look back at the paintings of the Ming and Qing Dynasties and the Song and Yuan Dynasties, we can't surpass them. We can't take out a whole set of philosophy, culture and aesthetics system, and we can draw a new kind of painting, which can be compared with that of that time.