《画山水序》是一篇聚焦“山水”主题的哲学文章，长久受到学界高度关注。当下，相关研究迫切需要回归魏晋南北朝思想语境，重读《画山水序》。概言之，“本末之辨”“气类感应”“形神关系”“鉴赏体验”是关键论述线索。本文认为：第一、《画山水序》与魏晋南北朝思想语境。宗炳是会通玄佛的晋宋隐逸名士。对《序》不能进行释、道、儒的单向解读，此文自由取用诸家思想，主旨在于论证“山水”与“山水图像”的哲学性质。张彦远的《历代名画记》收录《序》并使之流传后世，这反映了中晚唐艺术观的巨大变革。第二、宗炳山水观的玄佛考辨。“山水”与“山水图像”俱为“象”，“贤者”经由鉴赏“象”通达“圣人”的与“道”为一境界，“圣贤悬隔”的时代哲学设定自此融化于审美之中。“澄怀”默认“心”的实在，“味象”肯定感性世界的价值，这是“以玄对山水”的体现，玄学的“本末之辨”是《序》的观念前提。第三、山水图像与气论哲学。“感类”指“气类感应”，“山水”与“人”皆由“气”所化生，故同“类”感通。基于此，“画山水”是“画象”，又是“类之成巧”，人经由气类感通完满拟象“山水”，同时将“自然之势”或“气势”引流注入“山水图像”，实现“卧游”。于是，绘画艺术因“画山水”通于哲学，画家与观者亦皆须具备学养。第四、山水绘画与形神之辨。《序》之形神观可概括为“神形一如、神贵于形、形简传神”。“神”兼指“本体”与“心神”。“形”既指“象”，又呈显为“媚”即山水的新鲜美感姿态，还表现为绘画技法上的“线条”。“形”由“气”化生，故能联类感通“神”之“本体”与“心灵”两端，亦即“道”与“人”。第五、山水鉴赏的观感体验。与存在歧义的“透视”相比，“观感”是更契合人与山水之鉴赏关系的解释范畴。立足于宗炳的“感类”与“观道”，“观感”是超越视觉的身心共感，是融合时空的玄化美感，是“游乎天地之一气”的体道过程。根本上讲，“三玄”即《易》《老》《庄》是山水观感体验的思想基元。总之，《画山水序》是魏晋南北朝山水观的集大成式论述，是纵深思考汉魏与晋唐山水观变迁的历史坐标。自此出发，如果说“山水”是洞察中古思想史转折的机括，那么《画山水序》就是撬动此机括的最佳支点。

Painting Landscape Preface is a philosophical article focusing on “Shanshui (山水，Chinese Landscape)” and has long received great attention from the academic community. At present, relevant studies urgently need to return to the ideological context of the Wei, Jin, Northern and Southern Dynasties and re-read the Preface. The key threads of discussion are “the analysis between the fundamental (本) and the final (末)”, “the resonance of Qi (气)”, “the relationship between form (形) and spirit (神)”, and “the experience of appreciation”.First, Painting Landscape Preface and the ideological context of the Wei, Jin, Northern and Southern Dynasties. Zong Bing was a famous reclusive scholar of the Jin-Song dynasties who was well-versed in Neo-Taoism (玄学) and Buddhism. The Preface cannot be interpreted in a single context of Buddhism, Taoism, or Confucianism, because it freely integrates the ideas of various schools, and the main purpose is to demonstrate the philosophical nature of “landscape” and “landscape images”. Zhang Yanyuan’s Records of Famous Paintings of Successive Dynasties compiled the Preface and allowed it to be passed on to later generations, which reflects the great change in the outlook of arts in the middle and late Tang Dynasty.Second, the identification of Neo-Taoism and Buddhism in Zong Bing’s view of landscape. “Landscape” and “landscape images” are both “Xiang (象)”, and the worthy (贤者), by appreciating “Xiang”, can reach the sage’s realm of oneness with the “Tao (道)”. Thus, the philosophical setting of “the separation between the sage and the worthy” has melted into aesthetics. “Clarifying the mind” presupposes the reality of “heart”, and “savoring the Xiang” affirms the value of the perceptual world, which is the embodiment of “appreciating landscape with Xuan (玄)”. The analysis between the fundamental and the final of Neo-Taoism is the ideological basis of the Preface.Third, landscape images and the philosophy of Qi. The term “gan lei (感类)” refers to “the resonance of Qi”. “Landscape” and “human” are both originated from “Qi”, so they can be connected with the same “kind (lei)”. Therefore, “painting landscape” is both “painting Xiang” and “gan lei”. People realize the perfect simulation of “landscape” through the sense of Qi, and at the same time inject the “qi shi (气势)” into the “landscape image”, realizing the “lying tour”. As a result, the art of painting is connected with philosophy because of “painting landscape”, which requires both the painter and the viewer to be literati.Fourth, landscape painting and the relationship between form and spirit. The concept of “form” and “spirit” in the Preface can be summarized as “spirit is identical with form, spirit is more valuable than form, and form is simple to convey spirit”. The “spirit” refers to both “entity” and “mind”. The “form” is not only equal to “Xiang”, but also appears as “charm (媚)” - the fresh aesthetic appearance of landscape, and also manifests itself as “lines” in painting techniques. The “form” is generated by Qi, so it can connect the two ends of the “spirit” - “entity” and “mind”, that is, “Tao” and “human”.Fifth, the experience of landscape appreciation. Compared with the ambiguous “perspective”, “guan gan (观感)” is an interpretive category that is more consistent with the appreciation relationship between human and landscape. Based on Zong Bing’s “gan lei” and “guan Tao”, “guan gan” is the resonance of body and mind that transcends the visual sense, the metaphysical sense of beauty that integrates time and space, and the process of melting into the Tao by “roaming in the Qi”. Fundamentally speaking, Zhouyi, Laozi, and Zhuangzi are the ideological basis of the experience of landscape appreciation.In conclusion, Painting Landscape Preface is a comprehensive exposition of the landscape views of the Wei, Jin, Northern and Southern Dynasties, and a historical coordinate for in-depth reflection on the changes in the landscape views in the Han, Wei, Jin, and Tang Dynasties. Starting from this point, if “Shanshui (Chinese Landscape)” is the key to understanding the turning point of the history of ideas in the Chinese Middle Ages, then the Painting Landscape Preface is the best pivot for this key to open the door.