“文心”是一个很值得深入探讨的问题。秦汉时期绘画重在辅政教化,魏晋乱世,通过诠庄释老,沟通道器,赋予自然山水“以形媚道”的意义,为山水画的出现提供了理论支撑,也激发了士夫文人的洽艺热情,先是隋唐士大夫的热衷,后是宋代文人的积极介入,至元代,文人画创作则蔚然成观。“志于道,据于德,依于仁”是土阶层“游于艺”的前提与根据,旨在澄怀,意在明志,不求闻达,更无关涉利,从而将绘画由原先的匠人“猥役”提升为社会精英阶层的雅尚之习。进入明清后发生了变化,“噤声”的社会,迫使人们只能在复古归宗方面作出努力,但文 “Wen Xin ” is a question that deserves in-depth discussion. During the Qin and Han dynasties, the painting was mainly based on the secularization of politics and the overthrow of the Wei and Jin dynasties. It provided theoretical support for the appearance of landscape painting by interpreting the concept of “ The literary enthusiasm of the concubine, first passionate scholars in the Sui and Tang Dynasties, followed by the active involvement of the literati in the Song Dynasty, to the Yuan Dynasty, the literati painting is a common practice. ”Chi Yu Road, according to virtue, according to Ren “ is the soil class ”travel in art “ premise and basis, intended to Cheng Huai, intends to Ming Chi, does not ask for information, but also has nothing to do with interest, which will Painting by the original tradesman ”noble service “ upgrade to the social elite class Masters learning. After entering the Ming and Qing Dynasties, changes have taken place, ”噤 sound " society, forcing people to make efforts only in the retro faction, but the text