“天地与我并生,而万物与我为一”,这种“天人合一”的哲学观对中国艺术的影响是极其深刻的。正因如此,早在一千六百年前的东晋,顾恺之就提出了“以形写神”、“迁想妙得”的绘画理论。后来,南朝的谢赫继承和发展了顾恺之的理论,在《古画品录》一书的序言中提出了著名的“六法论”,奠定了中国画的理论基石。从此,中国历代的画家和美术理论家将这一理论作了淋漓尽致的发挥,并一直影响至今。真可谓“画家宗之,至今千古不易也”。 “The world is with me and everything is one with me.” This philosophical view of “harmony between man and nature” has an extremely profound impact on Chinese art. For this reason, as early as 1600 years ago in Eastern Jin Dynasty, Gu Kaizhi proposed the painting theory of “describing God” and “relocating wonderful ideas.” Later, Sheikh in the Southern Dynasty inherited and developed Gu Kaizhi’s theory and put forward the famous “Sixth Theory” in the preface to the book “Ancient Pictorial Materials”, laying the theoretical cornerstone of Chinese painting. Since then, Chinese ancient painters and art theorists have given full play to this theory, and has been affected so far. Really can be described as “painter Zongzhi, since ancient times is not easy”.