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中国古代美术作品及画论关于悟性的论述不乏其人,明确将悟性引入中国绘画美学的始作俑者是唐代的张彦远,他在《历代名画记》中提出了“凝神遐想,妙悟自然”的美学命题;唐代书法家虞世南在《笔髓论·契妙》中提出了“心悟于至道,书契于无为”的书法美学命题;明代
There is no shortage of expositions about understanding in Chinese ancient art works and paintings, and it is Zhang Yanyuan who explicitly introduced the perception into the aesthetics of Chinese painting. He put forward the idea of “reverie and magical nature” in “Famous Paintings of Various Dynasties” The aesthetic proposition of the Tang Dynasty calligrapher Yu Shinan put forward the calligraphic aesthetics proposition of "