台灣清代水墨畫從中國大陸傳來。學者在研究此一時期的台灣繪畫時，歸納出一種風格的特色，稱之為「閩習」。學者大致認為這樣的風格來自清代福建籍畫家黃慎的影響。然而，「閩習」一詞由何而來，台灣「閩習」畫風是否可以追溯到更早的畫家，在台灣流傳的情況為何，是本文所要探討的問題。黃慎以及他早年學畫的老師上官周都曾被批評為「未脫閩習」。因此本文主張「閩習」原來所指的風格應該是黃慎與上官周以前的福建繪畫風格，而非今日學者所通稱受到黃慎影響的粗放風格。而本文主張黃慎與上官周以前的福建繪畫風格應該是浙派的繪畫傳統，也就是南宋時期所流行較為工麗的院體風格。然而，黃慎粗曠的風格也並非與浙派完全無關。明代被歸類為浙派的畫家之中，已經有一些具有潦草的畫風，明末有些書法家也有怪異潦草的傾向，這些都可視為黃慎風格的來源。黃慎這種粗放潦草的繪畫風格流行於福建，後來也隨著台灣的開墾而傳到台灣。

Taiwan's painting in the Qing period originated from the Chinese mainland. When studying Taiwan's painting in this period, scholars found a specific style, which they call the "Min-practice." Scholars generally think that this style came from the influence of Qing Dynasty Fujian painter Huang Shen. However, where does the word "Min-practice" come from? Can Taiwan's "Min-practice" style be traced back to even earlier painters? How did "Min-practice" style develop in Taiwan? These are the questions that this paper discusses. Huang Shen and his teacher Shangguan Zhou, who he learned painting from in his early age, were criticized as "not losing Min-practice." Therefore this paper asserts that originally the "Min-practice" indicated the painting style popular in Fujian before Huang Shen and Shangguan Zhou. The term did not mean Huang Sheng's loose and free style as today's scholars think. This paper states that the style popular in Fujian before Huang Shen and Shangguan Zhou's time was the Zhe School's painting tradition, which was the more delicate court style popular during the Southern Song Dynasty. However, Huang Shen's husky style is not totally unrelated to the Zhe School. Scratchy painting style has emerged in the works by some of the Zhe School painters during the Ming Dynasty. Some calligraphers of the late Ming period also tended to write in a weird and scratchy style. These can be seen as sources of Huang Shen's style. Huang Shen's loose and scratchy style was popular in Fujian, and later spread to Taiwan.