一般说来，同一绘画体系下不同题材的绘画作品在发展与演变的过程中，其艺术理念与技法材料都应当是在同步发展的。可是工笔画发展到宋代这一文学艺术全盛之时，人物、花鸟、山水在表现手法上出现了不同，山水画因其表现对象特殊性导致与人物花鸟不同的技法与风格，但是同为勾线染色的人物画和花鸟画却在造型法则上发展不平衡。花鸟画呈现出精致人微的高度写实的造型法则，而人物画是一种相对概括与提炼的装饰性的写实法则。二者同样生在“皇家”出自“院体”却出现了“同体不同法”的现象。这种不平衡是因为二者有着不同的学习方法传统、各自的绘画理论、封建礼教的影响、题材的功能有所侧重、以及尺幅大小的几个方面原由使然。%Generally speaking, in the processing of development and evolution, paintings with different subjects under the same painting system, their idea of art and skills and materials ought to be in the same development level, but in the hey- day of literature and art in Song Dynasty, figure painting, flower-birds painting and landscape painting in meticulous-style paintings came to different in expression, the expression way of landscape painting is very different with figure painting and flower-birds painting because of its object have specific characteristic, but the formation of figure painting and flower-birds painting developed imbalance, although they have the same expression way. Flower-birds painting appears much more meticulous and realistic in formation, while figure painting relatively generalized and decorative in formation. Both of them were born in Royal Academy of Song Dynasty, but they have different expressions, this is very rare in other country art history. The reason caused the imbalance include ： different traditional learning method and painting theory, influence of feudal moral, the function of the two topics has its own particular emphasis and size of a picture.
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