宋代山水绘画是“图真”与“道”的合一,既满足于视觉形象上的审美需求,也能让心灵为之游动——达到可居可游的精神状态,这亦或是画家在追求精神畅游与客观物象的冲和中达到一种自在的境界。大千的泼墨泼彩山水绘画虽在气度方面承袭了文人画灵动、飘逸的抒情意趣,然在笔墨表现、境致营构、图式安排等方面却深受五代、两宋山水画的影响。 The landscape painting in the Song Dynasty is a combination of “Figure True ” and “Tao ”, not only satisfied with the aesthetic needs of the visual image, but also allows the mind to swim for it - to achieve a haphazard state of mind, which Or the painter can reach a level of freedom in the pursuit of spiritual and objective images. In spite of its graceful spirit, the poetic painting of landscape painting inherits the clever and graceful lyric interest of the literati painting. However, it has been greatly influenced by the landscape paintings of the Five Dynasties and the Song Dynasties in the aspects of pen and ink, structure and layout.