泛论中国画的“理”

论述了中国古代画论中理的内涵、美学背景及其在中国画形→神→意的发展过程中的独特作用。主要论及理作为事物的内在本质、客观规律这一层面。一方面由于先秦理性和儒家绘画为现实服务的观点，画家一直在为写实而究物之理；另一方面，中国早期艺术中就有重表现的特质。魏晋时期玄佛兴起，理沟通了形与神。随着禅宗在唐宋时期兴起，穷物之理又开始使形依理而幻化为抒情服务。明清两代，随着重笔墨和主观精神的表现，理成为形与意的桥梁，为沟通中国画中的物我之意作出独特贡献。文章还点明了理的现实意义。

ON THE LAW IN ANCIENT CHINESE TREATIES OF PAINTING

The writer dwells on the intension,aesthetic background of “law” in ancient Chinese treatise on painting,and the specific role of the law in the development of traditional Chinese painting from shape to bearing and to conception.Here in the paper “law” is mainly regarded as the internal nature and natural law of a thing.On the one hand,because of the rationalism in the Pre-Qin days and the painting idea of confucianism serving the realistic civilization,painters have been observing the law of a thing in order to portray the reality.On the other hand,there had been an aptness of expression in the earlier Chinese arts.Later,when metaphysics and buddhism arose in Wei Jin period,the shape and bearing of an object.When Zen arose in the Tang and Song dynasty,the aim of observing law was to change the shape to serve the lyricism according to law.In the Ming and Qing dynasty,with the emphasis of form itself and expression of the “law” communicated subjective internal,law became the bridge between shape and inwardness,and made its unique contributions to the communication between an object and man in Chinese paintings.It has also been pointed out in this paper that the application of law still remains realistic significance today.