宋朝蜀地学者邓椿的《画继》在中国美术史上的地位非比寻常,其美学观对于中国绘画走向文学化、诗意化、文人化更是影响深远。在《画继》中,邓椿云:“画之为用大矣!盈天地之间者万物,悉皆含毫运思,曲尽其态。而所以能曲尽者,止一法耳。一者何也?曰:传神而已矣!世徒知人之有神,而不知物之有神。此若虚深鄙众工,谓‘虽曰画而非画者’。盖止能传其形,不能传其神也。故画法以气韵生动为第一,而若虚独归于轩冕、岩穴,有以哉!”1 The “Painting Following” of scholar Deng Shu in the Song Dynasty was extraordinary in Chinese art history. Its aesthetic concept has a far-reaching impact on the Chinese painting towards literature, poeticization and literatiization. In the “painting following”, Deng Chun-yun: “The big picture of the big picture! Between the world of all things, all with the milligrams thinking, doing their best, and so able to make the best, only one ear. Also said: vivid just now! The world known to God, but not the god of things .If the virtual deep contemptible work, that ’although the picture rather than the painter’. Its god also. Therefore, the painting method to lively and vivid as the first, and if the virtual attributed to Xuan Mian, cave, a zai! ”1