《画山水序》，南朝，宋，宗炳撰山水画论著，虽篇幅不长，但在我国绘画理论史上占有重要地位。作为我国山水画论的开端，《画山水序》对后来的画论产生了重要影响，并具有普遍的美学意义。
...院学报 Journal of Anyang Teachers College] 《画山水序》中的佛教思想——兼与陈传席教授商榷 [齐鲁艺苑 Qilu Realm of Arts] 浅析颜之推的家教思想 Approach to the Family Education of Yan Zhi - tui [商丘师范学院学报 Journal of Shangqiu Teachers ...
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Conclusion part is about the status of Landscape painting sequence and Linquangaozhi·landscapes Training in the ecological aesthetics, and meanwhile, the authors further makes a summarizing discussion about the theoretical value and practical significance of landscape ecological aesthetics.
结语部分,论述《画山水序》与《林泉高致·山水训》在古典生态美学中的地位,同时进一步就山水画论进行生态美学研究的理论价值与实践意义做总结性和前瞻性的探讨。
参考来源 - 中国古代山水画论中所蕴涵的生态美学意识·2,447,543篇论文数据，部分数据来源于NoteExpress
六朝流传至今的山水绘画美学主要见诸晋末宋初宗炳的《画山水序》和王微的《叙画》。
The aesthetic thoughts on mountains-and-waters painting handed down from the Six Dynasties is mainly reflected in Zong Bing's Preface to mountains-and-waters painting and Wang Wei's on painting.
宗炳追随慧远并接受“形象本体”之学，这是形成《画山水序》前瞻性的山水画理论的内在原因。
Zong Bin followed Hui Yuan and accepted his "imaginary ontology". This was the innate reason of the perspectiveness in his Preface for Landscape Painting.
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