“心”“物”化生与共——“一画”说

"Xin""Wu",Existance and Coexistence——the theory of "Yi Hua"

石涛画学思想的理论基础是“一画”说,历来论家之阐释众多,有以“玄”目之者,亦有谓其玩“概念”之嫌者。众多观点中,最能坐实,并被普遍接受的观点是:“一画”与道家“一生二、二生三、三生万物”思想的溯源关系。但仍不够透彻。我们认为,“一画”的理论基础是中国传统的生生哲学,是石涛用生生哲学思想来对绘画艺术“创造”问题的一种理论阐释。是对艺术创作中“心”“物”关系认识的深入。“一画”说的出现,并非是语言,画理的弄“玄”,而是对积重难返的`“食古”作出的强力反抗和深刻的批判。也不是单纯地对道家思想在绘画中重要地位,意义的重申和坚守,而超越了一般的儒道问题,更超越了行、利画家剖分的层面,是在传统生生哲学思想的基础上,为中国画理,文艺精神建构出一个更普遍、更深刻,亦最本质的文化基础背景和理论体系。

The theoretical basis of Shi Tao＇s painting thinking was the “Yi Hua” theory. All along theorists have had plenty of explanations. Some make “mystical” eyes; some are suspected to play “concept”. Among these ideas, the most concrete and popularly accepted one is the relation between the theory of “Yi Hua” and he Tao＇s thinking： “one becomes two, two becomes three and three becomes everything on earth”. But I think it is not thorough. To us the theoretical base of “Yi Hua” is the traditional Chinese philosophy. With the philosophical thought, Shi Tao theoretically explained the “creation” of painting art. It is a deep recognition of the relation of “Xin” and “Wu”. The appearance of the “Yi Hua” theory was not deliberately mystifying in language and painting theory, but was a strong resistance and profound criticism to “Shi Gu” which was not be changed. Also it was not purely to reiterate and persevere the important status and significance of the Taoism thought in painting, but surmounted the common Confucianism, and surmounted the range of some painters. On the basis of traditional philosophic thinking, it set up a more universal, more profound and more essential cultural base background and theory system for the traditional Chinese painting theory and the literary spirit.