| Wei-Jin and Northern and Southern Dynasties were special stages when Occult Science originated and Confuciisme, Taoisme and Buddhisme mixed, resulting in the main stream of ideology changed. Wei-Jin style and individual conscious disillusion of literators began to penetrate into the painting, so the aesthetic concepts on Occult for Landscape, Buddha for Landscape and Affection for Landscape were arising. Therefore, the ideology at this stage was mixed by various doctrines, actively and exclusively. This Essay makes clear that the painting aesthetics of Zongbing is the condensate and refraction for that stage, then the painting ideality and aesthetic scope were formed and handed down for generations. Landscape Painting Preamble worked by Zongbing was the condensate of painting aesthetics ideology, rated as the first Landscape Painting in China, symbolized as the initial creation of Landscape Painting. It was less than 500 words but full of thoughts. First, it made the Landscape Painting as independent painting and study subject; second, it was not only the theories on painting techniques but with theories, practice and mortal, integrated with arts and aesthetic, proposing a series of aesthetic subjects as "Mind", "Observation", "Mortals over Ideology", "Imagine", etc, which had profound aesthetic meanings. This works was the text in the Essay with the background of the special times and cultural life in Wei-Jin and Northern and Southern Dynasties. Retrieve the impacts of Confuciisme, Taoisme and Buddhisme at that stage, cut-in with modern aesthetic theory view and analyze the Landscape Painting Preamble on the concept to attempt to collect into a full aesthetic system, disclosing the aesthetic meaning integrally, fully and furtherly. This Essay is composed of four chapters. In Chapter 1, observe the times and cultural life background and analyze the process from the separation of Chinese Landscape Painting to initial creation. Chinese Landscape Painting was affected by "Unity of Heaven and Human"of Chinese traditional philosophy, putting stress on the harmony between human and nature. In order to deeper understand and explain the painting aesthetic idea of Zongbing, require to cut-in here for clear explanation as "Nature Idea"of Landscape Painting theoretical core. In Chapter 2, mainly discuss the ideological source of painting aesthetic. Zongbing was edified by Buddha traditional ideology, taking Occult Science of Lao Tuz, believing in Buddha practices, with ideology mixed by Confuciisme, Taoisme and Buddhisme, which was not simply collected together. Therefore, whether the changes and formation of ideology is clear is important to know the ideological system. With analysis of ideologies of Confuciisme, Taoisme and Buddhisme, mainly study the interactions and acceptances of each ideology. In Chapter 3, select out the representational aesthetics subject in Landscape Painting Preamble, in accordance with the main line of aesthetics activities, to form into a set of aesthetics system: "Mind"——"Observation"——"Taste"——"Imagine"——"Absorb", namely, aesthetics mind ---aesthetics observation---aesthetics imagine---aesthetics ambit. It is different from the traditional studiers for Zongbing, solely and separately discussing a subject, but with systemic method to understand the aesthetic ideology of Zongbing. This Chapter is the core in the essay. In Chapter 4, conclude the aesthetics ideology of Zongbing and reveal the important position in Chinese aesthetics history and affection for the generations, further represent the characteristics of aestheticsideologies in Wei-Jin and Northern and Southern Dynasties. The Essay reveals Landscape Painting Preamble by Zongbing posted the independence of Landscape Painting and Landscape Painting Preamble, which is a milestone in Chinese painting history and painting aesthetic history with plentiful aesthetics ideology.
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