空,是中国哲学的重要概念。在佛学传入中国之前,道家哲学中的“无”的概念,就具有与“空”相近的内涵。空的思想对文人画的发展具有至关重要的影响,没有这一思想,水墨画能否出现并成为中国画的重要表现形式都很难说。一生优游于心学和禅道哲学之中的董其昌①,深知此一学说对于中国思想、艺术的重要意义,他的画,在一定程度上,就是在敷衍这一学说。他一生论书论画,归结为一句 Empty, is an important concept of Chinese philosophy. Prior to the introduction of Buddhism into China, the notion of “nothing ” in Taoist philosophy possessed similarities to “null ”. Empty ideas have a crucial impact on the development of literati painting. Without this idea, it is hard to say whether the ink painting can appear and become an important manifestation of Chinese painting. Dong Qichang, who had been traveling in his life and philosophy of Zen Buddhism for a long time, knew well what the significance of this doctrine for Chinese thought and art, and his paintings, to a certain extent, were perfunctory. His life thesis painting, boiled down to one sentence