中国画的美学思想是追求表现“真”的,这种追求源于新石器时代的彩陶绘画。先秦思想家将人与自然的关系演绎成“道”、“气”、“象”的哲学理念,于是魏晋以后的书画美学都围绕着这些朴素唯物主义世界观展开命题,其宗旨是崇尚“图真”。宋、元两代山水画在求“真”探索中,很大程度上可以说是从求境“真”到求“笔墨真”的转变过程,成就了中国山水画“真境”传神,“真笔”写心的体质。而元人“逸笔草草”的主张并非一个时代的艺术追求,也不能与他们的艺术实践相比照。 The aesthetic idea of ​​Chinese painting is to pursue the performance of “true”, this pursuit from the Neolithic pottery painting. The pre-Qin thinkers interpreted the relationship between man and nature as the philosophical idea of ​​ “Dao ”, “Qi ” and “Xiang ”. Therefore, the calligraphic aesthetics after the Wei and Jin dynasties propositions around these simple materialist worldviews. The purpose is to advocate “Figure true ”. In the exploration of “True” Song and Yuan Dynasties, the landscape paintings of the two generations can largely be said to be the transformation process from “truth” to “seeking truth and truth” of “ Habitat ”vivid, “ true pen ”heart to write the constitution. The proposition of Yuan “Yi pen grass ” is not an artistic pursuit of an era, nor comparable to their artistic practice.