摘要
画"法"是中国绘画在实践中形成并用以指导创作的道或法式。画史上画"法"理论滥觞于秦汉前后的"谨毛失貌",成熟于南朝谢赫"六法",并先后为五代荆浩、宋刘道醇和明李开先乃至清盛大士、邹一桂等所承袭与发展。以谢赫"六法"为核心的画"法"体系对民族画艺影响深远但也为创新带来了困扰,清初石涛"一画之法"的提出与其说是对这种传统画"法"的反拨,毋宁说是使之向"无法而法"的回归,这对民族画艺的发展不无启发。
The painting ＂laws＂ in the Chinese traditional painting are the rules or models formed in the practice and then used to guide painting creation.In the history,the ＂laws＂ of painting emerged in the period of Qin and Han Dynasties,known as ＂losing the outline for caring about the detail＂,prospered in the Southern Dynasties with Xie He＇s ＂Six Laws＂,and then succeeded and developed by those in the later periods,such as Jing Hao in the Five Dynasties,Liu Daochun in the Song Dynasty,Li Kaixian in the Ming Dynasty,and Sheng Dashi and Zou Yigui in the Qing Dynasty.The traditional painting law system based on Xie＇s ＂Six Laws＂ has exerted a deep influence to national painting,but also posed a barrier for further development of traditional painting.However,the theory of ＂One-Painting Law＂ advanced by Shi Tao in the Qing Dynasty,was an addressing to the traditional painting law system,and brought it back to the theory of ＂the law of no law＂,which is by any means a revelation to the development of national painting art.
出处
《贵州大学学报（艺术版）》
2011年第2期46-52,共7页
Journal of Guizhou University Art Edition
关键词
法或格法
六法
一画或一画之法
无法与至法
中国传统绘画
painting laws
Six Laws
One-Painting Law
No Law or the ultimate law
Chinese traditional painting
