石涛《画语录》“一画之法”的现代解读

Modern Understanding of Shi Tao's Way for Drawing in His 《A Dialogue on drawing》

“一画之法”就是“无法之法”,是艺术创作的最高准则。“一画之法”的实质是强调在主客体统一的前提下,高度张扬主体个性,构筑一个有生命气息的整体画面。在石涛看来,构成中国传统山水画的艺术形象的各种勾皴点染,实质上是画家心灵的符号,生命的表征,是灵魂之光借助外在形象的自然流溢。石涛把这种与西方截然不同的符号体系归纳为“一画”体系,而运用这些符号进行创作的根本原则就是“一画之法”。画家在创作过程中,应该脱尽窠臼,不立一法。既成之后,不留一法。这样,人的个性自由才得以高度张扬,主体的创造性才得到充分发挥。石涛以“自有我在”的高度自信和独创精神.对清初画坛上的复古主义有力反拨,在绘画领域树个性解放大旗,展露出向现代绘画迈进的端倪。

The way for Drawing is that no fixed way for any picture, which is the important principle for drawing. The nature is , through the unity of subject and object and fully publicizing subject＇s personality, to create a whole picture full of life and vigor. He believes that all the images of Chinese traditional landscape painting are the symbols of the drawers＇ inner world, indication of life, reflection of the soul by outside world. So he classifies it as a special type which is extremely different from western system, the principle of which is one way for one picture. During the creation, the drawer should draw without any limitation. Only in this way, the people＇s creativity can be fully displayed. He attacks the doctrine of “back to the ancients” in Late Qing Dynasty by the spirit of originality, and at the same time points the way to modern drawing.