王微是東晉時期重要的畫論家，其生年略晚於宗炳，其重要畫論《敘畫》與宗炳的《畫山水序》同為中國山水畫的最早理論。兩人的繪畫理論頗多共同之處，值得比較研究。本文共分以下四個小節：王微的生平活動；《敘畫》的文義；《敘畫》的美學意涵；結論。對於王微的生平活動的簡介，為了讓讀者了解其在中國畫史上的地位。對《敘畫》一文的文義，該文的文字簡短，意蘊豐富，微引全文以及白話譯文，以助讀者與原作者發展最直接的第一類接觸。《敘畫》的美學意涵，是本文的重點，作者依據其文義，區別出「導言」，「本乎形者融靈」，「畫之致」，「畫之情」四小節，分別論及書畫同源問題，繪畫之存有學根源，繪畫之藝術哲學，繪畫之審美學箏問題。由淤年代久遠，原文之傳抄版本有許多出入，導致詮解上的歧異，本文也略加處理，以利順讀其文義。在結論處，本文也對《敘畫》的意涵與價值給予肯定與推崇。

As an important painting theorist in the Period of Eastern Jin, Wang Wei was born a bit later than Zong Bing, while Wang's On Paintings and Zong's Preface to Landscape Painting are both the earliest theories of Chinese landscape paintings. Their theories about painting have a lot in common and deserve some comparative research. This article is divided into the following four sections: Wang Wei's biography; the purport of On Paintings; the aesthetic meaning of Preface to Landscape Painting; and the conclusion.The brief biography of Wang Wei is to make the readers understand his status in the history of Chinese painting. Regarding the purport of On Paintings, its writing is succinct but rich, and the text is quoted and paraphrased to help the readers develop the most direct first contact with the author. The aesthetic meaning of On Paintings is the main point of this article. Based on its purport, the writer proceeds along four sections to discuss respectively the following issues: the same origin of calligraphy and painting, the existential origin of painting, the artistic philosophy of painting and the aesthetics of painting. Due to the historical distance, the manuscripts of the original text are inconsistent in many ways, which leads to many differences in interpretation. Here we address the disagreements between the different copies to facilitate the reading of its meaning. In the section of the conclusion, the meaning and value of On Paintings are confirmed and upheld.