CAJ | 학술논문

魏晋以来论山水画多重在创作客体，但宋人论画重在对主体人格修养的叩问。这一变化固然有山水画作为一门独立的艺术而具备的自身的发展逻辑，但同时也离不开社会文化的外在原因。山水画批评风尚的这一变化时期，正是影响中国社会近千年的理学的流布时期，两宋时期的山水画家和山水画理论家们是难以置身于理学这一“时代精神气候”之外的。
위진이래론산수화다중재창작객체，단송인론화중재대주체인격수양적고문。저일변화고연유산수화작위일문독립적예술이구비적자신적발전라집，단동시야리불개사회문화적외재원인。산수화비평풍상적저일변화시기，정시영향중국사회근천년적이학적류포시기，량송시기적산수화가화산수화이론가문시난이치신우이학저일“시대정신기후”지외적。
While in Wei and Jin, paintings are valued more on the objective components, but in Song the focus of the criteria is switched to the virtue or personality. This is due to the developmental logic of the arts, and the inseparable social factors as well. A historical retrospect would associate the popularity of the Confucianism with the painters and critics at that time.