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Literati Painting
泛指中国古代文人士大夫的绘画，区别于民间的或宫廷画院的绘画，是中国画的一种。又称“士夫画”、“南画”、“南宗画”。宋代苏轼（1037-1101）首提“士人画”，明代董其昌（1555—1636）视唐代王维（701？－761）为“文人画”的创始人。文人画作者多取材于山水、花鸟、竹木等，侧重于抒发主体性灵，表达人的内心世界，间或寄托、书写对社会现实的不满与愤慨之情。文人画讲究笔墨情趣，超越形式技法，强调神韵意境。
This refers to paintings produced by ancient Chinese scholars and writers, as distinguished from those by craftsmen or court-hired artists. It is a sub-category of traditional Chinese painting, also known as “scholarly painting,” “southern school painting,” or simply “southern painting.” Although Su Shi (1037-1101), a renowned Song Dynasty poet, first advanced this idea, Ming Dynasty painter and calligrapher Dong Qichang (1555-1636) regarded the Tang Dynasty poet Wang Wei (701?-761) as the true pioneer of literati painting. Its authors typically drew inspiration from scenery and image of mountains, rivers, trees, flowers, and birds, focusing on expressing their subjective perceptions and innermost feelings. Their works sometimes showed resentment and discontent with certain social phenomena. Stressing skillful use of brush and ink, literati painting transcended the restraints of form and technique, imbuing itself with real taste and verve.
引例 Citations：
◎观士人画，如阅天下马，取其意气所到。乃若画工，往往只取鞭策皮毛槽枥刍秣，无一点后发，看数尺许便倦。汉杰，真士人画也。（苏轼《东坡题跋·跋宋汉杰画》）
（观赏士大夫绘画，如品阅天下的骏马图，当择取其中构意和气势俱佳的作品。如果是普通画匠，往往在皮毛、马鞭、马槽、饲料上用心，不能让人产生一点儿振奋，看几平尺就让人困倦。宋汉杰的绘画，才是真正的士大夫绘画。）
Examining scholarly paintings is like looking at galloping steeds of the world: one must choose only those works good in both structure and vision. A mediocre painter pays too much attention to trifles such as the fir and hair, horse whip, manger, and fodder, which are not quite able to enhance our aspirations. We would start to feel tired after we have looked at the first ten inches or so of such a painting. Song Hanjie’s works alone show the intrinsic quality of a true scholar.(Su Shi: Su Dongpo’s Comments on Literary and Artistic Works)
