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张彥远《历代名画记》所论唐以前山水树石绘画的特征,是中国绘画史上的传统说法,长期以来为学者所称引。然而,考之传世文献与考古材料,张氏所论实为以偏概全。六朝时期树木绘画“无生动之可拟,无气韵之可侔,直要位置向背”、“列植之状,则若伸臂布指”的情形确有存在,但仅见于部分区域的部分画法,而不是这一时期树木绘画的总体特征。战国以降,妙于“生动”、“气韵”的树绘作品,在各时代各地区、不同民族与宗教的绘画作品中皆有所见,不仅反映了中国古人对于作为宇宙构成元素的树木的关注与认识程度,而且表现着中国古人与自然山林、宇宙万物的交流与沟通。
The Characteristics of Landscape Painting Before the Tang Dynasty by Zhang Yan-yuan, “Famous Paintings of Various Dynasties” The history of Chinese landscape painting is a traditional saying in the history of Chinese painting and has long been cited by scholars. However, the examination of the handed down documents and archaeological materials, Zhang’s theory is partial. During the Six Dynasties period, the painting of trees “can not be vividly conceived, and there is no rhyme, but the position should be directed back.” Regional painting, rather than the overall characteristics of the tree painting of this period. The tree-painted works of the Warring States Period that fall and are beautiful in “vividness” and “beauty” are all seen in the paintings of different regions and ethnic groups and religions in different periods, not only reflecting the Chinese ancient people ’ Of trees concern and awareness of the degree, but also shows the ancient Chinese and natural forests, the exchange and communication of all things in the universe.