在古代，中国画画家一般可分为三类：民间画家、院体画家和文人画家。民间画家，又被称为“民间画工”，是指那些政治地位和社会地位较低的画家，他们的画称之为“民间画院体画家是指在宫廷画院任职的画家，他们的画称之为“院体画”；文人画家一般是指在绘画上有一定造诣的文人和士大夫，他们的画称之为“文人画”。
It has made an outstanding achievement for the literati painters at the same time besides painting, but it also made a large number of followers to be "rigid" or "absurd" (Fu Baoshi).
它在使一些具有丰厚“画外功夫”的文人画家们取得卓越成就的同时,更使大批追随者的创作趋于“僵化”或“荒谬绝伦”(傅抱石语)。
参考来源 - 中国画学科规范论Until the literati artist to join the professional ranks painting, the situation began to change. The intervention makes literati painting Aesthetic changes from the constant resemblance to the truth and with literary scene outside intelligence offset.
直到文人画家加入到专业绘画的行列中来，这种局面才开始有所转变，文人的介入使得绘画的审美发生变迁，由一贯追求真实和形似向带有文学性的景外情偏移。
参考来源 - 对中国画题款艺术发展过程的探究·2,447,543篇论文数据，部分数据来源于NoteExpress
其二，文人画家不管荣辱得失，始终痴迷于绘事。
Second, the literati painters regardless of the pros and cons of honor, always obsessed with painting.
同时也是历代文人画家们对自然、社会和人生的一种情感折射。
At the same time, they are also the feelings refraction that scholar painters of every dynasties for nature, society and life.
所以其以形式的优美、内涵的丰富成为历代画家，特别是文人画家的情结。
And so the images of the fishermen with their beautiful forms and rich intensions were deeply loved by painters, especially literati painters.
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