中国人对水似乎有一种特殊的感情,春秋时期孔子以水比德,故君子见大水必细观;战国屈原沧浪之水可濯缨足,为清白出尘之譬喻;东晋会稽山兰亭修禊,有曲水流觞之乐事;至于后世以水命名斋号者,更是不计其数。文人墨客吟咏唱和之余,亦以水入画,并与山一起,形成了,华夏独有的山水文化和山水绘画。就绘画论,自东晋顾恺之《洛神赋图》到隋展子虔的《游春图》,对水的描绘已经逐渐成熟;尤其从唐末江南成为文化重心开始,卫贤、赵斡、郭忠恕等已经逐步将水的描绘手法多样化;后世更是有专门画水之作,如南宋马远的十二幅《水图》,将水的不同形态表现得淋漓尽致。可见,水在中国绘画中是永恒的主题。 Chinese people seem to have a special feeling of water. In the Spring and Autumn Period, Confucius took the water to Germany, so the gentleman should see the great water. The water in the Warring States Period can crouch enough to serve as a metaphor for innocence and dust; Repair 禊, there is a curious 觞 觞 事; things; as for later generations to name the 斋 number, it is countless. The literati and poet chant and spare, but also with water into the painting, and together with the mountains, formed, Huaxia unique landscape culture and landscape painting. On the theory of painting, the description of water has gradually matured since the “Luoshen Fu Tu” by Gu Kai in the Eastern Jin Dynasty and the “Spring Paintings” by Qian in the Sui dynasty. Especially since Jiangnan in the late Tang Dynasty became the cultural center of gravity, Wei Xian, Zhao Wei and Guo Zhongshu have gradually Diversification of water painting techniques; later is a special painting for the water, such as the Southern Song Dynasty Ma Yuan’s twelve “water map”, the different forms of water performance most vividly. Visible, water is the eternal theme in Chinese painting.