传统的中国书画向来重视静观、内省及精神本性的回归,尤其得益于中国古典美学及哲学中的庄、老思想。这也无不与中华民族所特有的文化结构、社会结构和心理结构有着密切关连。魏晋之际,士人多怀超世之想,慕高古幽渺或恬淡安然之境。躬行内省,以其精神独与天地相往还。是以有嵇叔夜斥乎明教;阮藉独驾不由路径,行至绝处,狂哭而返;刘伶日日醉酒;谢灵运忘情于山水之间;陶渊明归居田园,而宗炳、谢赫诸人或以“卧游”,或登 Traditional Chinese calligraphy and painting always attach importance to the quietness, introspection and the return of spiritual nature, especially thanks to the ancient Chinese aesthetics and philosophy in the village, the old thought. This is also closely related to the unique cultural structure, social structure and psychological structure of the Chinese nation. On the occasion of the Wei and Jin Dynasties, many scholars cherished the thought of being supermodel-rich, quiet and quiet, peaceful and peaceful. Bow introspective, with its spirit alone with the world also. So there is a tsu night Unblocked by the Ming religion; Ruan borrowed alone drive not by the path, to the extreme, mad cry and return; Liu Ling day drunk; Xie Lingyun forget between the landscape; Tao Yuanming subordinate to the garden, and Zong Bing, Xie Hezhu people or to “lying down”, or Deng