安史之乱后,唐代社会发生了巨大变化。陈寅恪先生在《论韩愈》一文中指出:“唐代之史可分为前后两期,前期结束南北朝相承之旧局面,后期开启赵宋以降之新局面。关于政治社会经济者如此,关于文化学术者亦莫不如此。”柳诒徵也认为:“自唐室中晚以降,为吾国中世纪变化最大之时期。前此犹多古风,后则别成一种社会。综而观之,无往不见其蜕变之迹焉。”本文试从“中唐变革”的角度探讨文人画的起源问题,以期对历来颇受争议的文人画起源问题有一个更全面的认识。一、文人画的本质及其渊源论说中国“文人画”有别于民间、宫廷和职业画师的绘画,是中国绘画史上影响最大的 After the An-shih chaos, great changes have taken place in the society of the Tang Dynasty. In his article “On Han Yu,” Chen Yinke pointed out: “The history of the Tang Dynasty can be divided into two periods: the early phase of the old state of the South and the Northern Dynasties, the later opening of the Song and the Song Dynasties to a new situation.” About the political and social economists, “Liu Yizheng also think: ” from the Tang room late in the evening, for the period of the greatest changes in our country in the Middle Ages, before the Judeo Archaic, then do not become a society. “This article attempts to explore the origin of scholarly paintings from the perspective of ” China’s reform in the Tang Dynasty “, in the hope of having a more comprehensive understanding of the origins of the historically-controversial scholarly paintings. First, the essence of the literati painting and its theory of origin China ”literati painting " is different from the civil, court and professional painter’s painting, is the greatest impact in the history of Chinese painting