纵观中国文学艺术史,山水作为文人笔下主观审美对象的描绘,较之对于社会的人的形象的描写要来得晚。自魏晋玄学风气盛行以后,才出现独立的山水诗和山水画。但是,中国远古人类与自然发生关系已是源远流长。人们对于自然的美感,是随着生产方式和意识形态的转变而发生着变化。渔猎社会人和动物接触最多,所以他们的装饰和艺术母题总是离不开动物的范围;而到了农业社会,花草树木才开始出现在装饰艺术品上。在社会不断前进和发展的不同时代,人类则从自然中领受了种种的印象,都因为是观察自然而得出的不同的观点。我们的祖先以“赫赫我祖,来自昆仑”而自傲;孔子有“登泰山而小天下”的感叹;庄子与惠子同游濠梁引出“知鱼之乐”。“山水 Looking at the history of Chinese literature and art history, landscape painting as a subjective and aesthetic object of the artist’s portrayal is later than the description of the human image of society. Since the Metaphysics prevailed in Wei and Jin Dynasties, independent landscape poetry and landscape painting appeared. However, the ancient human relations with nature in China have a long history. People’s beauty of nature changes with the change of mode of production and ideology. Hunting and fishing society and animal contact with the most, so their decorative and artistic motifs are always inseparable from the scope of animals; and in agricultural society, flowers and trees began to appear in decorative works of art. In different times when society is constantly moving forward and developing, human beings receive all kinds of impressions from nature because of different views derived from the observation of nature. Our ancestors to ”Hehe my ancestors, from the Kunlun “ and pride; Confucius have ”Dengtaishan and the world “ sigh; Zhuangzi and Keiko evoke Leung ”know the joy of fish “. ”landscape