五代荆浩在《笔法记》中论及中国山水画的重要美学问题,肯定了“真”的存在形式,是中国山水画在精神上所处的重要地位。从《笔法记》中可见“度物象而取其真”是主体思维活动反映在绘画上的文质之神态与自然客体之形态的气质特征。艺术上“真”之本原首先是主体审美感受上的“真我”,其次是艺术本体在创造过程中主动的觉醒状态。这种颇 The Five Dynasties Jing Hao discusses the important aesthetic problems of Chinese landscape painting in “The Writing Method of Scripts”, confirms the existence form of “truth” and is the spiritual status of Chinese landscape painting. It can be seen from “Tachiaki” that “the object of degree takes its essence” is the temperament characteristic of the state of the nature of the essence and the object of the nature which the subject’s thinking activities reflect on the painting. The original “truth” in art is first of all the “true self” of the subject’s aesthetic experience, and secondly the active awakening of the artistic noumenon in the creative process. This is quite