在民族绘画经过“水不容泛”、“人大于山”的幼稚时代后,画家们渐渐发现了大自然这个魔术师手中的戏法儿——透视,并欣然接受了它。 宗炳在《画山水叙》里,最先描述了人与景物间距离远近的变化,呈现出“去之稍阔,则其见弥小”的近大远小的透视现象,并将此种透视原理用于绘画。韩拙认为“山有高低大小之序,以近次远,至于广极者”,如是方能“咫尺深重”,以分远近。倘“只写真山,不分远近浅深,乃图经也、”笪重光亦指出:“无层次而有层次者佳,有层次而无层次者 After the naive era of national painting, “Water is not a pan”, “people are bigger than mountains”, painters gradually discovered the trick of nature in this magician - perspective, and readily accepted it. Zong Bing first described the distance between man and scenery in “Painting Landscape,” showing a near-far-small perspective of “going a little wider, then seeing a smaller one,” and comparing this kind of Perspective principle for painting. Humble opinion that “mountain order of the order of the size of the mountains, as far as the last, as the most widely”, if it can only “close at hand,” to point away. If “only pictorial mountains, regardless of the depth and depth, but also by the figure,” a heavy light also pointed out: "no hierarchy and good level, with no hierarchy