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雙語版·中國書畫作品欣賞之我見——中國畫（今譯）三
三、 筆墨特點
我國素有「書畫同源」之說；不管書與畫，所用的工具是相同的。行筆、運筆等技巧相同，中國書法是「以線造字」，而中國畫歷來是「以線造型」（以線條為主要造型手段）。儘管中國畫的革新以色彩為突破口，並出現了大量的以色彩為主的現代作品，但是線條仍然起著重要的作用，傳統繪畫線條高超的表現技巧以及優秀的文化內涵，已經被繼承下來並有所創新。因此，研究中國畫線條的歷史發展軌跡，使我們對中國畫線條的繼承與創新有一個更清醒的認識是十分重要的。中國畫線條的突出特點是富有表現性，它是至今多數國家繪畫藝術中的線條所難以企及的。
Three, Chinese ink features
Our country is known as "calligraphy and painting homology" said; regardless of books and paintings, the tools used are the same. Bank, Yunbi skills such as the same, Chinese calligraphy is "Line defined", and China painting has always been a "Line modeling" (lines as the main means of modeling). Although Chinese painting innovation in color as a breakthrough point, and there are a lot of color mainly to the modern works, but the line still plays an important role in the traditional painting lines superb performance skills and excellent cultural connotation, has been inherited and innovation. Therefore, it is very important to study the history of Chinese painting lines, so that we can have a clearer understanding of the inheritance and innovation of Chinese painting lines. Chinese line painting is the prominent characteristics of the rich performance, it is so far the majority of countries in the art of painting the lines are elusive.
善於「牽著線條去散步」的德國現代主義大師克利說：「筆跡最關鍵的是表現而不是工整。請考慮—下中國人的做法。」中國畫線條表現性技法的成熟雖然遠遠早於西方，但它不是一步到位的，而是經歷了漫長的發展。不動的線到飛動的線。人類在原始社會所創造的線條，主要是直線、橫線和圓線。由於使用這些線，人們就可以在畫面上畫出對象的結構，傳達出所要傳遞的信息。此後隨著文明的發展，人們又感到直線、橫線和圓線比較呆板、僵硬和缺少動感和生命力，於是創造了一些波狀的、粗細不勻的、富有張力的線條。我們從周代青銅器《饕餮簋》、
漢代畫像石拓片中可以看出，
中國畫線條從公元前十世紀開始就有了巨大的發展：從平實的線逐漸變為富有生命力的飛動的線條。這種變化是怎樣表現出來的呢？
Good at holding line to walk, "the German modernist master Klee said:" the handwriting is the most crucial performance. Please consider the Chinese practice." Although the performance of Chinese painting lines is far more mature than in the west, but it is not a step in place, but experienced a long development. Fixed line to move the line. In primitive society created by human line, is a straight line, horizontal line and the circle line. As a result of the use of these lines, people can draw on the screen structure of the object, to convey the information to be conveyed. Then with the development of civilization, people also feel a straight line, horizontal line and the circle line relatively inflexible, rigid and lack of dynamism and vitality, and creates a number of wavy, uneven thickness, tension lines. We are from the "Gluttonous feasts", Zhou Dai bronze of the Han Dynasty "Han portrait stone rubbings" can be seen in the line China painting began to have great development from tenth Century BC: from the plain line gradually becomes full of vitality of the flying lines. How does this change come about?
這要從線條的位置、運動方向、張力等方面來研究。首先，這兩件作品中出現了波狀線(亦稱蛇形線)。這種線條的位置與方向不像直線那樣固定，它好象是在擺動而且活動的方向不確定，這樣在視覺上就給人以動感。其次，這兩件作品中的線條不像以往直線那樣平直均勻，而是有粗有細，由此可知，作者在運筆時所用的力度和速度是不均勻的。這種力度與速度的不同，就表現出線條在空間與時間上的運動，因而給人以動感；再次，我們從饕餮頭部的向相反方向誇張性運動的線條中，從馬的四條腿最大限度地向不同方向伸展的姿態中可以看出，作者企圖通過線條的巨大張力來表現饕餮、馬的奮進，使青銅器、石頭上的動物給人視覺上強烈的運動感。正是通過這種運動感，才使作品表現出極強的生命活力。從輪廓線到表現結構、空間、亮度的條。有些人常用「單線平塗」來概括中國畫的特點，這是不確切的。單線平塗是人類早期繪畫的共同特點。自漢末後，中國畫的特點就難以用單線平塗來說明了。輪廓線尉旨所畫物象的周邊線。它面對的是所畫物象與它所處空間的關係，因此它只是把某一物象從大的背景中分離出來，而無法顯現這一物象的內部結構和光分布。自從中國畫家創造了獨特的皴法、描法以及擦染之後，對物象內部結構與光分布的處理，就不是藉助透視法、明暗法，而是以本民族獨特的表現形式描繪出來。從五代時董源的《瀟湘圖》中，我們可以看到中國畫線條的發展變化：
This is from the line position, direction of movement, tension and other aspects of the study. First of all, a wavy line two works (also known as serpentine line). The position and direction of the line is not as fixed as a straight line, it seems to be in the swing and the direction of the movement is not sure, so visually gives a dynamic. Secondly, the lines of the two works are not as straight and uniform as the straight lines in the past, but they are thick and thin, which shows that the strength and speed of the author in the use of the pen is uneven. The intensity and speed of different lines on the show in space and time on the campaign, which gives a dynamic; thirdly, we head in the opposite direction from the gluttonous exaggerated lines of motion, from the maximum four legged horse stretched in different directions in attitude can be seen, the author attempts to to show the enormous tension line gluttonous, horse endeavour, bronze, stone the animal gave a strong visual sense of movement. It is through this sense of movement that the works show a strong vitality. From the outline to the performance structure, space, brightness of the bar. Some people often use "Single line flat" to summarize the characteristics of Chinese painting, which is not accurate. Single line flat painting is a common feature of human early painting. Since the late Han Dynasty, the characteristics of China paintings will be difficult to use Single line flat to explain. Contour Wei purpose by painting images of the surrounding line. It is the face of the painting and the relationship between the object space, so it is a separate object from the background, to show the internal structure of this object and light distribution. Since China artists to create a unique Cunfa, scanning method and rub into, the internal structure and optical images of the distribution, not with perspective, shading, but to form the nation"s unique description. From the five generation Dong Yuan "Xiaoxiang map", we can see the development and change of Chinese painting line:
五代時董源的《瀟湘圖》（934～960)
此畫用輪廓線界定了山的空間位置和整體走勢後，對山體內的各個組成部分，均以長披麻皴線條加點來表現。眾多披麻皴線條與點的有序排列，一方面刻畫出山嶺在一定光線照耀下的皴紋，另一方面表現出山體內各個部分的有機組合，從而有效地描繪了山體的結構。這些表現結構的皴線、點與輪廓線融合後，山的雄姿秀態就盡眼底了。
The five generation Dong Yuan "Xiaoxiang map" (934 ~ 960)
It defines the mountain space location and the overall trend with the contour line, each of the mountains in part by Long pimacun to add the line. Ordered many pimacun lines and points, one hand depicts the mountain in light of the Texture, on the other hand, from the organic combination of various parts of the body, so as to effectively describe the structure of the mountain. Cun performance of these lines, points and contour integration, Hill Xiongzi show on the state of the fundus.
此畫沒有用透視法照樣畫出物象的空間和距離，是由於畫家靈活運用了皴線和點。畫面的遠景部分，畫家用的是較短、較小、較淡的皴線與點；近景部分，則用較長、較濃的皴點；山體背陰的部分，用較濃的短線與點；各個山頭用重迭法畫出，畫家用這些方法表現出山體的縱深感。有人認為這種方法沒有透視法科學準確。當然，按透視法畫出的物象顯很逼真。但是，格式塔心理學家指出：透視法的準確是建立在透視縮短與透視變形基礎上的，它僅僅是在二維空間表現三維幻覺，是對眼睛的「欺騙」。因此，我們不必用透視法來苛求用皴、點與重迭法來表現物象空間距離——「深度」的中國畫。
此畫沒有用明暗法也畫出了物象的光分布。這是因為畫家利用皴線有疏有密的排列與部分留自來描繪山體的明部與暗部。顯然，這幅畫似乎沒有固定光源和合乎比例的明暗層次(亮度梯度)，但這樣的作品並不像有人說的只強調線條韻律不要光，而是採用垂直光分布、正面光(正面留白)來表現光亮，背面、側面用密集的短皴與點來表現。這種特殊的正面光與明暗分布法，源於道家哲學「萬物負陰而抱陽（或者是影響萬物自身的因素就是陰陽的調和問題）」的觀點。董源之後，畫家們又把皴與擦融為一體，進一步表現了物象的明暗層次，色彩的渲染對用皴擦表現光分布也起了輔助作用。這樣在表現光的過程中，各種線條一直起著主導作用。董源作品中的線條組合，不僅表現了物象的光分布，而且表現了空氣的濕度——南方群山的華滋濕潤、蒼茫蔥鬱。這是在西洋畫中難以見到的。
It does not use the same perspective to draw images of space and distance, is due to the painter Cracked line and flexibility in the use of the point. The vision part of the screen, the painter used Cracked line and shorter, smaller, lighter; close range, with a long, thick shade of the mountain cracked; part, with short and thick; all the hills with overlap method to draw, the artists use these methods show the mountain feeling of depth. Some people think this method is not scientific and accurate. Of course, according to the perspective of the images painted in very realistic. However, the Gestalt psychologists point out that the accuracy of perspective is based on the perspective of the perspective and the perspective of deformation, it is only in the two-dimensional space of three-dimensional illusion, is the eye of the "deception". Therefore, we do not have to use perspective to expect with Cun, the points of overlap and show images from space - the "depth" of the Chinese painting.
This painting is of no use to draw the shades of images of light distribution. This is because the artists use Cracked line there is a sparse arrangement with the dense part of the mountain and the darker left unsolicited depict. Obviously, this picture seems to have no fixed source and proportionate shades (Luminance gradient), but this is not someone that works only emphasize the rhythm of lines do not light, but the vertical distribution of light, positive light (The paper is blank) to express the light back and the side surface with short and dense strokes point performance. This special positive light and light distribution, derived from the Taoist philosophy, "All things are and Yang (or the influence of all things is the factor of the harmony of yin and Yang"). After Dong Yuan, the painters and the Chapped and wipe integration, further demonstrated the shades images, the color rendering performance of Chapped and wipe distribution also played a supporting role. So in the light of the process, a variety of lines has been playing a leading role. Dong Yuan works in the combination of lines, not only the distribution of images of light, and the performance of the China moist Lush Cangmang, the southern mountains air humidity. It"s hard to see in Western painting.
從」存形」的線條到抒情的線條。在唐代以前，中國畫以反映社會生活，描繪明君、忠臣、烈士、貞女等人物為主。在留下歷史人物真容方面，繪畫優於其它著作，所以陸機說：「存形莫善於畫。（表述事物的形體的，最好的辦法是畫畫，沒有比畫畫更好的了）」習附（學習這樣）的繪畫線條功能主要在服務於「存形（保存形狀）」，即真實描繪客觀對象。
Lyrical lines of "Performance shape" to the Lyric line. Before the Tang Dynasty, Chinese painting to reflect the social life, depicting wise monarch, official loyal his sovereign, Martyr, Virgin and other personage based. After leaving the true historical figures, the painting is superior to other works, so Lu Ji said: "Performance shape The best way is to draw. (describe the shape of things, the best way is to draw, no better than a draw) "(learning) the habit of painting lines in service at the main" Performance shape (save shape) ", namely realdescription objective object.
自從宋（960—1279年）、元（1271年—1368年）以後，中國畫由以人物為主，逐步轉為以山水、花鳥為主，由反映社會生活、描繪歷史與現實人物為主，轉向以描繪自然景物來折射社會生活，抒發畫家感情為主。為了服從這一目的，畫家們對線條作了大膽的革新，創造了具有獨立審美價值的抒情線條。這種抒情線條與寫實性線條的主要差別在以下兩個方面。第一、抒情線條特別重視線條的自身張力。所謂張力，簡而言之，就是一種相反相成的力。線條張力可分組合張力與自身張力兩種。顧愷之僅用橫線條與傾斜捲曲的線條組合，就刻畫出了人物的形貌與動態。然而他用的這種線條均勻細長，自身並無明顯張力。
Since the Song Dynasty (960 - 1279) (1271 - 1368), yuan, Chinese painted by the main characters, and gradually turned to landscapes, flowers and birds mainly, by the reflection of social life, depicting the history and reality of the main characters, to describing the natural scenery to reflect social life, express feelings of painting. In order to comply with this goal, painters have made bold innovations to the line, creating an independent aesthetic value of Lyrical lines. The main difference between the Lyrical lines and realistic lines in the following two aspects. First, Lyrical lines special emphasis on the line of tension. The so-called tension, in short, is a kind of both opposite and complementary force. Line tension can be divided into two kinds of tension and tension. Gu kaizhi only horizontal lines and tilt curly lines portfolio, depicts a figure on the morphology and dynamics. However, he used this line is long and thin, there is no obvious tension.
梁楷的《六祖斫竹圖》、
倪雲林的《紫芝山房圖》、
華岩的《金谷園圖》等，
就與顧愷之的線條不同了，其線條借鑒了書法線條的特點，自身具有明顯的張力。畫家在畫線條時，不僅像書法家那「欲左先右」、「欲上先下」，而且要使線條有虛有實、有曲有直、有濃有淡、有輕有重、有粗有細、有斷有續、有行有留等等。把以前平直、均勻、細韌的線條變得曲折頓挫、千姿百態，極富情致。畫家複雜多變的情感，藉助這種多姿多變的線條得到了充分的宣洩。這正是中國畫線條發展到高級階段所呈現的奧秘與難以企及之處，它是幾十個畫家共同創造的成果。
Liang Kai"s "Liuzu Cut the bamboo Painting", liuzu Zhuo Ni Yunlin "Rosie real Painting", Hua mountain rock "Jinguyuan Painting" etc., and the line is different from the line, the line drawing on the characteristics of the calligraphy line, its own obvious tension. The painter in the painting lines, not only like that "Towards the left before"s" right ",towards upper First down", and to make the line, does a song straight, thick with short, light weight, coarse and fine, there have continued off and will stay there, etc.. The previous straight, uniform, fine lines become tough duncuo twists and turns, full of interest in different poses and with different expressions. The painter"s complex and changeable emotion, with the help of this changeable line, has been fully vented. This is the mystery of China painting lines to the advanced stage of development and it is difficult to reach in, dozens of artists work together to create results.
第二、抒情線條並不是自然狀態的線條，而是有筆法的線條。中國畫筆法主要是指用筆方法。它是中國畫的另一個重要奧秘。中國畫筆法，除了大家熟知的不同於西洋畫的執筆法之外，最值得重視的是運筆法，而且不同類型的線條有不同的運筆法。運筆法也就是筆鋒接觸紙面時怎樣運行的方法，它有多種形式，大體上可分為空間運動形式與時間運動形式。不同的輪廓線，不同的皴法、描法，其線條的空間與時間運動形式是不相同的。空間運動形式有幾十種，主要是提按、旋轉(絞轉)、平動、擺動、從容流行等。時間運動形式也有多種，主要是疾遲(包括快速、中速、慢速)、行留、節奏、澀行與跳動等。中國畫家自從掌握了這種筆法後，不僅能「牽著線條去散步」，而且能憑藉它翱翔於藝術的王國，刻畫各種物象，抒發複雜情感，表現不同個性。這種筆法正被現代畫家繼承、發展，具有很強的生命力。
Second, the lyric line is not the natural state lines, but a technique of the lines. Chinese brushwork painting mainly refers to a pen method. It is another Chinese painting Important mystery. China style painting, in addition to the written law known as the western painting is different from the most worthy of attention is the transport technique, but also different types of lines have different Yunbi law. Yunbi law is how to run the Bifeng contact paper, it has a variety of forms, can be divided into space and time form of sports movement form. Different contour lines, different Texturing methods, tracing method, the line of space and time movement is not the same. The spatial form of dozens of sports, mainly to the rotation (able to), move, swing, leisurely fashion. Time has a variety of movement forms, mainly late disease (including fast, medium and slow), to stay the pace, such as Shibuya bank and the beating. China painter since mastered the technique, not only can the holding line to walk, but also by virtue of its flying in the realm of art, depicting various images, complex feelings, different personality. This technique is being modern painter inheritance and development, has the very strong vitality.
現代中國畫中的線條。中國畫線條經過宋、元、明、清眾多畫家的創造，達到新的高度。然而藝無止境，隨著時代的前進，人們審美能力的提高，中國畫線條仍在發展。最近幾十年，特別是最近十幾年，不少現代中國畫家在繼承前人技法的基礎上，創造了許多前無古人的新線條。
Lines in modern Chinese painting. Chinese painting lines through the song, yuan, Ming and Qing Dynasty, the creation of many artists to reach a new height. However, art endless, along with the progress of the times, people"s aesthetic ability, Chinese painting lines are still developing. In recent decades, especially in recent years, many modern Chinese painters in succession on the basis of previous techniques, has created many new lines with no predecessors.
例如，李可染創造了深邃含蓄的「金錯刀式」的線條；朱屺瞻創造廠老辣雄健的「鐵干銀鉤式」的線條；劉文西創造了長於描繪北方人物古樸剛勁的線條；黃永玉創造了曲折多姿的「不連貫」線條；吳冠中創造了極富韻律美的與點分離的長線條；黃胄創造了具有力度美的近似面的寬線條；周韶華創造了線與面、線與色混融一體的具有面的效果的線條；富中奇創造了具有裝飾美的表現鄉土情結的線條；邱笑秋、宋雨桂等創造了以色彩筆觸與水墨線條相融合的新線條等等。這些線條的創造，豐富了中國畫的表現力與抒情功能。關注繪畫藝術本體中點、線、面、筆墨等抽象的藝術形式；關注繪畫空間上的模糊性所引發的觀眾的想像與再創造。因而，中國傳統繪畫藝術具有象徵、寫意、表現的基本特徵。以想像真實代替視覺真實是它有別於西方古典寫實性藝術的特徵，也是中國畫詩意化的體現方式。在觀察與表現手法上，中國畫「外師造化，中得心源(向大自然學習，總結出屬於自己的方法)」(張躁語)。並不是完全照抄模仿自然的客觀物象，而是加入了創造者很強的主觀色彩，即在造化自然的基礎上，有所思想，有所寄意。當前，中國畫家正在越來越多地使用墨彩與色彩，全色彩「沒骨畫」得到了長足的發展。但是，線條並沒有被削弱，更不會消失，而是在不斷創新中形成新的形態、獲得新的生命力，顯現出更有時代特點的東方繪畫韻味。
For example, Li Keran created a profound implication of "the wrong knife style" lines; Zhu Qizhan plant LaoLa Xiongjian create the "iron stem Yingou" lines; Liu Wenxi created good at describing the north of the ancient lines Gangjin; Huang Yongyu created a variety of twists and turns "incoherent" lines; Wu Guanzhong created a beautiful rhythm separation points and the long lines; Huang Zhou has created a beauty of the strength of the approximate width of the lines; Zhou Shaohua created the Line and surface, Line and color Mixing and melting with the results of the line; Fu Zhongqi has created a decorative beauty on the performance of the native complex line; Qiu Xiaoqiu and Song Yugui created the color strokes and ink lines of the integration of new lines and so on. The creation of these lines enriches the expressive power and lyric function of Chinese painting. Pay attention to the abstract art form such as the middle point, line, surface and Chinese ink of the painting art; pay attention to the imagination and re creation of the audience caused by the fuzziness in the painting space. Therefore, the traditional Chinese painting art has the basic characteristics of symbol, freehand brushwork and . It is not only different from the western classical realistic art, but also the embodiment of Chinese painting in the way of imagination. In the observation and performance practices, the Chinese painting "The study nature of, Get own knowledge (learning from nature, summed up their own method)" (Zhang Zao). Not simply copy the object imitation of nature, but joined the creators of the highly subjective, that is some thought natural on the basis of fortune, Have, some, meaning. Currently, Chinese painters are increasingly using ink color and color, full-color painting without but outline forms achieved by washes of ink and color has been a considerable development. However, the lines have not been weakened, but will not disappear, but in the continuous innovation in the formation of a new form, to obtain new vitality, showing a more contemporary characteristics of Oriental painting charm.
待續
To be continued
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