中国画论中的“习气”说

“Bad Habit” Theory in Chinese Painting Theory

中国画史上每一种画风的出现,其初未尝不面目鲜明而卓然挺立,但传习日久则百弊丛生而渐至衰颓。这一现象在中国画论中受到了广泛的关注和讨论,以'习气'说予以解释,形成了'但株守一家而摹之,久之必生一种习气''袭其皮毛,遗其精髓,流而为习气矣'等命题,对'习气深锢,笔不从心'导致的画风概念化、公式化、肤浅化,以及率尔立意、放驰情性导致的画风失度和极端化等问题进行了揭示。习气导致了画风的衰颓,而习气矫枉则推动了画风的新变。习气矫枉的'发明天性、道引灵机'恢复了风格的生命活力,'沿流讨源、辩证偏重'重建了画风的对立平衡。画风的衰颓和新变,表现为性情的失衡、调整以及重新恢复平衡的生命轨迹,构成了中国画论中独特的风格观念。

Every Chinese painting style in the history,at the beginning,stood out by its distinctive features.However,with the passage of time,problems gradually emerge,and the painting style begins to decay.This phenomenon has been widely noticed and discussed in Chinese painting theory,which is explained as a matter of'bad habits'.It has formed the proposition that'If you stick to one painting school and copy it,you will develop a bad habit over time''Learning its superficiality would leave its essence behind and form a bad habit.'Bad habits may sever the concentration of painters’sense of life on paintings,resulting in the loss of the origin of style and life and developing into conceptualization and formulation.Bad habits also endanger the essence and authenticity of painters’mind,leading to the liberation and indulgence of temperament and the externalization of their styles.However,the correction of bad habits can start from restoring the authenticity of painters’mind and re-endow the style with vivid source of life.On the other hand,it can proceed from the opposite of the recessing style to make up the gaps and establish a new balance.The decline and change of painting style are shown as the life track of the disposition imbalance,adjustment,restoration of balance,which constitute the unique style concept in Chinese painting theory.