張彥遠採取遞進方法，層層深入。因為圖畫最基本的特點是要創造視覺形象，要象人象物，所以他把“象物”作為起點。而象物的基本要求在形似，但形似不能僅僅在皮相上只成為一個空殼，形似必須充滿骨氣，所謂骨氣就是要有內在的氣韻和骨力。骨氣和形似從哪裏來呢？都來源於立意，立意即畫家的精神構思和情感因素，有了好的立意，要使人物形象達到形似並具有骨氣，歸根到底還要有好的用筆，用筆即筆力、表現技巧。也就是說有好的立意而沒有筆力工夫和技法，也不能將立意的內容傳達出來，而用筆又與書法相通，如畫家在書法上有所造詣，筆力勁健，那麽畫的筆力也在其中，所以工畫者也善書。在張彥遠的這段論述中，對繪畫的評論和要求明顯地比顧愷之的以形寫神更加全面，從象物、形似說到骨氣、立意和用筆，這說明批評概念到唐代得到新的發展。
張彥遠對“意”的問題特別提出，並有新的見解，是他的批評理論的一大貢獻。因為顧愷之等人主要運用形、神的概念進行評論，張彥遠將意的概念突現出來，增強了評論中有關畫家的主體意識內容。除前面說到的張彥遠關於骨氣、形似皆本於立意外，還在具體評論中運用意的概念。如談論古畫時，認為“古畫非獨變態，有奇意也，抑亦物象殊也。”評顧愷之時說；“顧愷之之跡，緊勁連綿，循環超忽，調格逸易，風趨電疾，意存筆先，畫盡意在，所以全神氣也。”顧愷之除用筆緊勁連綿等特點外，還“意存筆先，畫盡意在”，這是說顧愷之在下筆前，已經先構思好了，先有一個繪畫全域的藍本，在思維或意識中已經存在，然後在作畫時才能風趨電疾，下筆如神，一揮而就，“畫盡意在”，即畫完作品，畫家之意自然地包含在作品形象中了。在此張彥遠將意提到創作中的關鍵地位，在作畫時，起到統領作用。他在評吳道子時也用了“意存筆先，畫盡意在”八個字，這說明，張彥遠已把意的問題作為有突出成就的畫家作畫時的普通規律。
張彥遠在《歷代名畫記》中“論顧陸張吳用筆”一篇中談到疏密二體時還提到“意周”的問題，用“意周”同“筆周”相對應。
又問餘曰：“夫運思精深者，筆跡周密，其有筆不同者謂之如何？”餘對曰：“顧陸之神，不可見其盼際，所謂筆跡周密也。張吳之妙，筆才一、二，像已應焉。離披點畫，時見缺落，此雖筆不周而意周也。若知畫有疏密二體，方可議乎畫，或者頷之而去。[5]
張彥遠認為顧愷之、陸探微是筆跡周密的密體，而吳道子，張僧繇則是筆才一、二，但象已應焉，雖然畫面常有缺落地方，這正是二位的妙處，疏密有致，筆不足而意周。畫面有的地方表面缺落，實是畫家有意為之，這些所謂疏的地方，雖然筆所未到，但意已到，意的氣勢已籠括全畫，所以稱為“意周”。意周的問題可以說是張彥遠在評點顧陸張吳時的獨到見解。“意周”的批評理論對後來中國文人畫家們計白當墨、留白的空間處理方法產生較大影響。
宋代繪畫得到全面發展，人物、山水、花鳥三大畫種均已成熟，風俗畫還出現了張擇端的《清明上河圖》這樣的巨作，工筆花鳥及院體山水達到高峰，同時文人畫、寫意畫形成氣候，可以說宋代是中國繪畫的輝煌時期。與此同時繪畫理論、繪畫批評、繪畫史研究也得到長足發展，諸如郭熙的《林泉高致》、郭若虛的《圖畫見聞誌》、鄧椿的《畫繼》、黃休復的《益州名畫錄》、劉道醇的《聖朝名畫評》、米芾的《畫史》、還有官修的《宣和畫譜》(及《宣和書譜》)等，此外歐陽修、蘇軾等文豪在作詩、文、書的同時，也從事藝術批評，撰寫論文或以詩評畫，闡釋他們的藝術思想與批評觀念。象、意、形、神等批評概念，在宋代得到進一步的論述，並在批評實踐中被廣泛應用。
歐陽修是北宋文壇的領袖，他在論畫中特別強調意，並對形似難易問題發表不同見解。
自從《韓非子》提出畫狗馬難，畫鬼魅易的論點後，人們一般都接受了這一觀點，都以為因狗馬天天出現在眼前，為大家熟知，畫家若小有畫不準確就會看破，而鬼神為人所不見，畫家隨意畫其形象，也不會被指責為不似。《韓非子》顯然是以形似作為標準來論畫之難易。歐陽修則說：
善言畫者，多雲鬼神易為工，以謂畫以形似為難。鬼神，人不見也，然至其陰威慘淡，變化超騰而窮奇極怪，使人見輒驚絕，及徐而定視，則千狀萬態，筆簡而意足，是不亦為難哉！[8]
在歐陽修看來，畫鬼神如畫到變化超騰而窮奇極怪，或千狀萬態，也不容易，問題是要達到“筆簡而意足”。在此，歐陽修說鬼神也難畫，其衡量標準，已不僅僅是形似問題，還有陰威慘淡的氛圍背景，還有變化超騰的氣勢動態，更重要的還要“意足”，所以形似只是評價繪畫的標準之一，而不是唯一因素。這已對“形似為難”的根本標準進行質疑。繪畫除形似外還有意足的問題。與歐陽修見解相近的還有與他同時代的董卣：
豈以人易知故難畫，人難知故易畫耶？狗馬信易察，鬼魅信難知，世有論理者，當知鬼神不異於人，而犬馬之狀，雖得形假而不盡其理者，亦未可謂工也。然天下見理者少，孰當與畫者論而索當哉！[9]
董卣明確認為，即使畫犬馬，雖然得以形似，但若不得其理，也不算工，也不是好畫。品評繪畫的標準除形似外，還有“理”，天下懂得“理”的人少，知道理的人還懂得畫鬼神不異於人，即鬼神不過是人的變種，亦不易畫。董卣嘆息人們多數只知道以形似論畫而不知其理，“見理者少”，很難與畫家來討論繪畫的真諦。
歐陽修重意，董卣重理，強調的都是形似以外的東西。歐陽修在《盤車圖》詩中說：“古畫畫意不畫形，梅詩詠物無隱情。忘形得意知者寡，不若見詩如見畫。”所謂畫意不畫形，不是不要形，無形則意無所寄，而是重點在畫意上，而不能停留在形上，得意忘形、意重於形。當然形仍是基礎，歐陽修在《盤車圖》詩中描述此圖形似之妙，“愛其樹老石硬，山回路轉，高下曲直，橫斜隱現，妍媸向背各有態，遠近分毫皆可辨。”這都在述狀形之妙。所謂“古畫畫意不畫形”中的古畫二字，只是歐陽修所處時代風尚還是較重形似，如院體畫風就占統治地位，所以他要借古誡今，古畫畫意只是他的一種理想狀態。詩中所謂“忘形得意”，表達了歐陽修關於以形達意的藝術觀念。《莊子》中有得意忘言、得魚忘筌之說，王弼則有得象忘言、得意忘象之論，唐代詩論詩評講象外之意、言外之旨、韻外之味。唐代李嗣真董論展時說：“動筆形似，畫外有情”，詩有言外意，畫亦有形外情，情即意。張彥遠也提到“以形似之外求其畫，”那麽形似之外是什麽東西呢？無非是情與意和理。到宋代，文人觀畫謂精鑒妙識者，大多主張忘形得意。如李畋在黃休復《益州名畫錄》序言中說：“大凡觀畫而神會者鮮矣，不過視其形似。其或洞達氣韻，超出端倪，用筆精緻不謂之工，傅采炳縟不謂之麗，觀乎象而忘象，意先自然，始可品繪工於彀中，揖畫聖於方外。”顯然李畋是把觀畫僅視其形似的人看成初識畫者，而能神會者則為精鑒者。用筆精緻達其形似不能算工，只有觀乎象而忘象，意先自然，才能真正達到精鑒繪畫的境界。歐陽修說“梅詩詠物無隱情，”梅詩，指詩人梅聖俞的詩作，他作詩要求“必能狀難寫之景，如在目前，含不盡之意，見於言外。”(《六一詩話》)這是作詩的至高要求，既要狀難寫之景，又要含不盡之意，詩如此，畫亦如此，“不若見詩如見畫”，說明詩畫在用形達意、得意忘形(詩中還存在得意忘言)方面有共同之點。
歐陽修還將形、意同繪畫意境結合起來：
蕭條淡泊，此難畫之意。畫者得之，覽者未必識也。故飛走遲速，意淺之物易見，而閑和嚴靜，趣遠之心難形。若乃高下向背，遠近重復，此畫工之藝爾，非精鑒者之事也。[10]
歐陽修認為意淺之物易見，他所謂的意淺之物，即物之自然形狀突出者，如物的高下向背，遠近重復，飛走遲速等，將之畫在畫面上容易識別，這只是畫工所為。所謂趣遠之心難形，即表現閑和嚴靜、蕭條淡泊之心境或境界，卻不容易，此難畫之意。歐陽修評畫的傾向十分明確，將意淺之物得其形似者，稱之為畫工，而將表現趣遠之心，淡泊之意者，稱之為精鑒，後者品位更高，畫意比畫形更難。
蘇軾比歐陽修小30歲，是北宋大文豪，于詩、詞、賦、文、書、畫均是大家，且對元明清文人畫產生極大影響。蘇軾的繪畫思想非常豐富，他在繪畫評論中，對形、神、意、象等問題亦發表許多獨到見解。蘇軾品畫中有關形與意的問題的看法，可能受到歐陽修的影響。
蘇軾關於“論畫以形似，見於兒童鄰；……”一詩，產生極大影響，也引起種種誤解，認為蘇軾要破除形似，不要形似，包括陳師曾等大家都抱此觀點，借蘇軾的文人畫觀來闡釋自己的文人畫思想，對蘇軾的理解上有偏頗之處，這一點阮璞先生已指出。[11] 蘇軾的這首論畫詩為《書鄢陵王主薄所畫折枝二首》，第一首詩主要在論畫，第二首則重在評王主薄的兩幅畫。第一首詩如下：
論畫以形似，見與兒童鄰；作詩必此詩，定非知詩人。詩畫本一律，天工與清新。邊鸞雀寫生，趙昌花傳神，何如此兩幅，疏淡含清勻。誰言一點紅，解寄無邊春。
蘇軾的這首詩，應作全面理解。黃賓虹《信劄殘稿》中將“論畫以形似”，改為“作畫以形似”，顯然不當。“論畫”是說觀畫品畫時對繪畫進行評論不當止於形似，不能改為“作畫”時不必形似。此詩前六句是對論畫作詩的議論，論畫或品畫、觀畫只以形似作為標準，看畫是否與對象相似一致，這只是近乎兒童看畫，只知道看畫中形象與客觀對象是否像，而不能深入到畫中所表現的深層的意之中。如果作詩只以形似為準，而不求景外之意，那麽他一定也是一個不懂詩歌創作規律的人。蘇軾的這些觀點實際上只是唐宋時期關於畫外之情，畫外之旨，和詩歌中講求言外之意、景外之趣的藝術觀點的進一步闡述。“詩畫本一律，天工與清新”，是說詩畫在創作上有共同的規律，即自然天工無雕琢跡，達到清新純朗的藝術意境。後六句用唐代花鳥畫家邊鸞、宋代花鳥畫家趙昌的寫生，傳神特點來襯托王主薄的二幅折枝畫，美言王主薄的畫比邊鸞趙昌的更好，好在什麽地方呢？“疏淡含清勻”。趙昌邊鸞的花鳥畫是寫生工細一類，縝密嚴整，王主薄則“疏淡”，應是另一種畫風，“誰言一點紅，解寄無邊春”，是說畫中關鍵景物不在多，而要蘊含豐富的意義，這正如唐代詩人所講“不著一字，盡得風流”。這也是在講畫外情，象外意。如果觀畫，論畫局限於形似，那是無法從一點紅色中，看出無邊春景的。蘇軾的第二首詩，則具體來品賞評價王主薄的兩幅畫，我們僅從前四句“瘦竹如幽人，幽花如處女。低昂枝上雀，搖蕩花間雨。”就能看出蘇軾論畫閱畫的方法，他從畫中瘦竹聯想到幽人，從幽花聯想到處女，鳥雀在枝上昂首，跳彈搖落枝上花中雨水，真是情景交融，趣味盎然。這說明蘇軾評畫是不止於形似的，他從畫的形象中感悟聯想到更多的意與情、趣與理。但畫中的瘦竹幽花，雀鳥仍具有形似特點，在這兩首詩中我們均找不出所謂打破形似，不要形似的說法。全面理解蘇軾的觀點，應該是，他主張論畫評畫不能局限於形似，形似既是作畫也是論評繪畫的基本要求，但更高的品鑒和藝術評論應從形似中看出象外之意，畫外之情，就像從畫中“一點紅”中把握到“無邊春”。
此外，歐陽修講“古畫畫意不畫形”，蘇軾講“論畫以形似，見與兒童鄰”，不以形似論畫，這還與他們都是詩人、文人相關。他們潛意識中常以詩論畫，將詩的精神運用到評畫中來。而中國的詩，是抒情詩，詩論也講情景交融、言外之意、象外之旨，那麼歐陽修、蘇軾將此作為參考來論畫評畫，也必然不止於關註畫中形似逼肖問題，而要深入到畫外之情，形外之意了。蘇軾在《跋蒲傳正燕公山水》中說：“燕公之筆，渾然天成，已離畫工之度數，而得詩人之清麗也”。他把燕公的繪畫成就，歸結為離畫工之度數，而得詩人之清麗。顯然，蘇軾認為畫中有詩人之情的意境，要比滿紙精工細刻逼肖人物的畫工之作，其審美價值要高。
明代董其昌在《畫旨》中說：“東坡有詩曰：‘論畫以形似，見與兒童鄰，作詩必此詩，定非知詩人’。餘曰：‘此元畫也。’”明代的董其昌將宋代的蘇軾的論畫詩看成是在評論元代繪畫，好像在打時間差，董其昌所謂元畫是什麽呢？就是倪瓚等人所謂的“逸筆草草，不求形似，聊寫胸中意氣。”董其昌將蘇軾的“論畫以形似，見與兒童鄰”也附會成不求形似，所以似乎在評說元畫。近代陳師曾將蘇軾的此詩說成是要“極端打破形似。”這裏有一個問題，即為什麽董其昌和陳師曾等人要將蘇軾的論畫詩，歪曲成是在評論元畫或打破形似呢？難道蘇軾的這二首詩原意他們真的不理解嗎？我認為董其昌和陳師曾是帶著個人的成見來讀蘇軾，各取所需，才造成這種誤解。董其昌倡導繪畫的南北二宗，推崇王維以降的南宗，故將蘇軾明明是在評同時代宋人的畫，故意說成是好像在評元畫的蕭條淡泊、逸筆草草。陳師曾則在20世紀初竭力維護文人寫意畫，而反對陳獨秀、康有為否定文人畫、恢復院體寫實畫的論調，因此陳師曾從蘇軾詩中，臆想出極力打破形似的觀點，強加給蘇軾。實際上董其昌和陳師曾都在借蘇軾的論畫詩為我所用。這說明，即使像董其昌、陳師曾這樣的大畫家兼理論家，只要帶有偏見，也會曲解歷史上像蘇軾這樣的大家的藝術思想。所以舍棄偏見，才有可能較公正和准確地把握歷史上的藝術觀念，特別是有爭議的藝術思想。
蘇軾另一段關於觀士人畫的言論也頗引人注目，經常被引用，即《跋宋漢傑畫山》中之一段：
觀士人畫如閱天下馬，取其意氣所到，乃若畫工，往往只取鞭策皮毛槽櫪芻秣，無一點俊發，看數尺許便倦。漢傑真士人畫也。
宋漢傑即宋子房，宋代山水畫家。蘇軾認為漢傑之畫山，不古不今，稍出新意。並認為漢傑之畫乃真士人畫。觀看士人畫就像九方臯閱天下馬一樣，取其意氣所到，蘇軾運用《列子》關于九方臯相馬遺其牝牡驪黃而取其“天機”的故事作為比喻，說明觀賞士人畫，就像九方臯觀天下馬一樣，不能僅看皮毛等項，無一點俊發，即毫無生氣，所以看數尺便疲倦了。
從這一段話的原意來看，蘇軾是贊賞士人畫，而對畫工畫評價較低，為什麽士人畫比畫工畫好呢？就是畫工僅取物之皮相，雖外表形似，但形象較為呆板無生氣，而士人畫則取意氣所到，常常忽略皮毛表相，仍能饒有韻味。蘇軾在此推崇士人畫，還是強調意重於形，他是受到他的老師歐陽修“古畫畫意不畫形”觀點的影響的。《天廚禁臠》載東坡論詩畫之語有：“善畫者畫意不畫形，善詩者道意不道名。”蘇軾論詩，意重於名(言)，蘇軾論畫，意重於形(象)，當然這不能理解為蘇軾否定形似或不要形似。他對那種肆意否曲對象，不求形似者也是有過批評的。東坡《凈因院畫記》中說：“故凡可以欺世而盜名者，必托於無常形者也。”他把那些畫不準形體而藉口說客觀世界中無此類常形者的做法，稱為欺世盜名，應予鄙棄。
宋代歐陽修、蘇軾論畫評畫之最大特點，在於將魏晉以來的形神論發展為形意論，從以形寫神發展為忘象得意。對意在創作中的提升實際上是對審美主體即藝術家的精神作用的強化。對意的強調在宋代畫評中已是比較普遍。我們僅舉郭若虛的《圖畫見聞誌》就能窺豹一斑。如評陳州閻士安，說他工畫墨竹，筆力蒼勁，名著當時，“每於大卷高壁為不盡景，或為風勢，甚有意趣。”評丘士元，工畫水牛，“精神形似外，特有意趣。”評真宗所示八幅《袁安臥雪圖》所畫人物車馬，林石廬舍，靡不臻極，“從者苦寒之態，意思如生”。所以“意趣”“意思”及蘇軾所謂“意氣”均是評畫的重要概念和藝術標準。
為什麽到宋代會出現強調“意”在繪畫創作與評論中的作用呢？我想主要有如下三點原因：
其一，顧愷之關於以形寫神、傳神寫照，及點睛之論，主要是指人物畫，他強調不僅要形似，還要傳神，表現對象的精神特點，這比僅僅認為繪畫就是圖形寫貌、空陳形似要深刻得多。但隋唐以來山水畫開始發展，五代及宋花鳥畫也得到發展，雖然也能借用人物畫傳神論來評價花鳥傳神，山水傳神，但總覺得借鑒人物畫中品評語言，不如用意趣、意理、意境、立意、生意等來評述。意的範圍更廣闊，畫中之意，象外之意，是指整個畫面和境界，不僅僅局限在人物畫的傳神上，包括山水、花鳥都可以有立意和達意的問題，所以宋代強調“意”的概念，乃是繪畫創作發展的必然。
其二，在顧愷之以前，往往將繪畫看成類物、象人、象物、象形、這還處於對繪畫的初始認識上。顧愷之系統提出傳神論，對繪畫的本質認識進了一步，繪畫不僅是摹擬外形，還要傳出對象的神韻或神采。要在刻畫對象的外部形象和傳達對象的內在精神的統一上來表現對象，賦予被表現的對象以生命活力和精神光彩。但顧愷之更多的是關心被表現的對象如何得到表現的問題，還沒有充分註意畫家本身的心靈意誌問題。到南朝陳的姚最已提出“心師造化”的問題，而唐代張更明確提出“外師造化，中得心源”八個字，將創作中的主客體關系辯證地加以精闢說明，繪畫創作主體的心源、靈感、想像等精神意緒活動得到重視，認識意才是創作中的關鍵部分，形似，骨法都本於立意，所以到唐宋，對立意、畫意的重視，實際上是在創作中從摹擬客觀對象向表現主觀情意轉化的必然產物和要求，是重視創作主體作用的明證。
其三，唐宋時期我國詩詞藝術得到重要發展，詩品、詩評、詩論也進一步展開，由於我國詩歌曆來重視“詩言誌”，詩的抒情性及比興隱喻手法是中國詩的特點，詩歌品鑒講究含不盡之意於言外。加之唐宋時期如王維、蘇軾既是詩人又是畫家，打通詩畫之間的邊界，強調詩中有畫、畫中有詩，在瞭解詩畫二門藝術的基本差別後更註重二者的聯系與相通之處。中國的詩重言誌達意，重言外之意、象外之意，這一傳統被詩人歐陽修、蘇軾借用來強調畫外之意，意重於形，意生象外。所謂畫意不畫形，取其意氣所到，正是歐陽修、蘇軾詩畫美學思想中重意之觀點的集中表現。歐陽修與蘇軾關於畫家不畫形、忘形得意、蘇軾關於不求形似，取其意氣所到的繪畫思想及評論觀點，對元明清的繪畫評論及藝術觀產生極大影響，特別是文人畫派受其影響更大。可以肯定地說歐陽修與蘇東坡的思想對其後中國的表現性藝術美學及繪畫創作中的表現性特點，均發揮了重要的作用。
參考文獻：
[1]許慎. 說文解字[M]。北京：中華書局影印，1981. 65. 314。
[2]尚書正義·卷一·尚書序[A]。十三經註疏[C]。 (上)杭州：浙江古籍出版社，1998. 113。
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[7]何吉明。 唐五代畫論[M]。長沙：湖南美術出版社，1997，128-129。
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Zhang Yan Yuan adopt progressive methods, layers of depth. Because the most basic features of a picture is to create visual images, to the Elephant Man as the object, so he put "like objects" as a starting point. The basic requirements such as the shape of things, but the shape must not only Pixiang only as a shell, the shape must be filled with a backbone, the so-called backbone is to have intrinsic Qiyun and Gu Li. Backbone and shape come from? Are derived from the conception, conception that is the spirit of the artist's ideas and emotional factors, have a good conception, to make the shape of characters and have the backbone to reach the final analysis, but also have a good pen, a pen or pen force, presentation skills. That is a good intentioned but not vigor of work and technique and it can not convey the contents of conception out of the pen and calligraphy also similarities, such as the artist has accomplished in calligraphy, pen force Jin Jian, then the painting is also the pen force Among them, so work the artists are good book. Zhang Yan far in this discourse, comments and requests for painting Gu Kaizhi more obvious than in the order form to write God a more comprehensive, from the like objects, the shape of said backbone, conception, and a pen, which shows the concept of the Tang Dynasty to be critical new development.
Zhang Yan Yuan, "meaning" issue highlighted, and new insights of his criticism of the theory of a major contribution. Because Gu Kaizhi, who mainly make use of shape, to comment on the concept of God, Zhang Yan far will come to the fore the concept of meaning, enhanced commentary on the artist's awareness of the contents of the main body. In addition to the previous mentioned in Zhang Yan Yuan on the backbone, the shape of all of this in the Legislative accident, also in the use of specific comments on the concept of meaning. If, when talking about paintings, saying that "non-exclusive paintings metamorphosis, there are strange and Italy are also, suppression is also Butsuzo Shu people." Rating Gu Kaizhi said; "Gu Kaizhi of the tracks, Jin stretching tight, circular ultra-suddenly, adjusting grid Yi Yi, wind galvanotaxis disease, meaning deposit pen first, the painting was intended to do, so the whole air of people. "Gu Kaizhi In addition to tight Jin-stretching characteristics of a pen, but also" intended to keep pen the first painting was intended to do, "which Gu Kaizhi is that before the write has been the first good idea, first there is an overall blueprint for painting, in thought or consciousness already exists, and then paint only when the wind galvanotaxis illness, write like a god, at one go, "When a painting is intended to do", that is unfinished works, the painter of the Italian natural images included in the work of the. Zhang Yan-yuan in this creation is intended that the key position in his paintings, play a command role. Wu Daozi in his commentary, also used the word "Italian Pen deposit first, the painting was intended to do," eight words, which shows that Zhang Yan far has preferred issues outstanding achievements as an artist to paint the ordinary laws of time.
Zhang Yan Yuan in the "Chronicles painting in mind" and "On the Gu Lu Zhang Wu a pen," spoke of a two-body density also received mention in "Italian Week" issue, "Italy Week" with "pen Week" corresponds to.
I asked, saying: "When a man who brought deep thought, careful handwriting, the pen is different that's how?" I right reads: "taking care of the god of land can not be reflected in its hope the occasion of the so-called handwriting well also. Zhang Wu's wonderful, pen only one or two, like has to be Yan. away from the Phi stippling, when you see the lack of ups and downs, though the pen is also ill-conceived and intended to weeks. If the known density two body painted before painting peace proposal, or the chin of the away .[5]
Zhang Yan Yuan that Gu Kaizhi, land and Exploration is a careful handwriting dense body, while the Wu Daozi, Zhang Sengyao is the pen only one or two, but as should already Yan, although often lacking and off the screen, which is 2 The beauty, density delivered, less than the Italian pen weeks. Missing off the surface of the screen in some places is really a painter intentionally, these so-called sparse areas, although the pen of the yet to come, but the Italian has come, meaning the cage including all the momentum has been painted, so called "Italian Week." Italian-week problem can be said to be as far away as commentaries Gu Yan-Wu Lu Zhang insights when. "Italy Week" critical theory of the Chinese literati painters of dollars later when white ink, with plenty of space for treatment have a significant impact.
In the Song Dynasty painting full development, characters, landscapes, flowers and birds species of the three paintings have been mature, and folk paintings also appeared in Zhang Zeduan of "Qingming Riverside" This enormous work, meticulous landscapes birds and flowers, and academy reached a peak at the same time literati painting, freehand drawing forming climate, can be said that Song is a great period of Chinese painting. At the same time painting theory, drawing criticism, art history research has also been rapid development, such as Guo Xi's "conception of the pine-induced," Guo Ruoxu's "picture blog seen and heard," Deng Chun's "After painting," Huang Sue-fu's " Yizhou paintings recorded, "Liu Tao alcohol," Sheng Zhao painting commentary, "Mi Fu's" Art History ", as well as official repair of the" propaganda and Hua Pu "(And the "propaganda and books spectrum"), Etc. In addition, Ouyang Xiu, Su Shi and other writer in poetry, literature, the book also engage in art criticism, writing poetry, commentary papers or paintings, elaborate on their concept of artistic thought and criticism. Such as, Italy, shape, criticized the concept of God, etc., in the further discussion of the Song Dynasty, and criticized the practice has been widely used.
Ouyang Xiu is the leader of the Northern Song dynasty literary scene in his painting, with special emphasis on Italy, as well as to express different views on the shape of difficulty.
Since the "Han Feizi" raised difficult to draw a dog horse painting ghosts Yi's argument, it is generally accepted this view, all thought that horse every day because the dog appears in front of the well-known, artists have painted, if a small inaccuracy will see through , but was criticized not see spirits, artists freely painted its image, it will not be accused of not like. "Han Fei Zi" is obviously based on the shape as a standard for ease of painting. Ouyang Xiu, said:
Good words about art, cloudy spirits it easy for workers to that portrait is done with the shape of things difficult. Spirits, people have not seen, ran to their Yin Wei bleak, change superdome and the poor and very strange odd that people never see Noir shock, and Xu may be visual, then the 1000-like 10000 state, the Italian pen simple enough, is it not difficult zai! [8]
In Ouyang Xiu's view, the paintings that change spirits picturesque superdome and the poor very strange odd, or 1000-like 10000 states, is not easy, the problem is to achieve "a brush that simple and intended to foot." At this point, Ouyang said the spirits are also difficult to draw, as measured, has not only the shape of the problem, as well as Yin Wei bleak atmosphere of the background, as well as changes in ultra-teng momentum dynamics, more importantly, still have to "meaning foot," Therefore, evaluation of the shape is just one of the standards of painting, not the only factor. This has been on the "shape of difficult" to challenge the fundamental criterion. In addition to the shape of things, interested in painting foot problems. And Ouyang Xiu and his views are similar to contemporary Dong Jiyou:
Qi easy to know the people and therefore difficult to draw, people know it is difficult to draw easy or not? Dog Ma Xin Yi inspections, ghosts letters difficult to understand, the World there are ethical persons, be aware that the spirits are not different from those of people, and pleasures of the shape, though not exactly have to shape their arguments are false and, nor can be said to work also. Ran the world who see little reason, then what when and painting are on the ropes when zai! [9]
Dong Jiyou clear that even if the painting pleasures, although able to shape, but if not its reasoning, it is not working, nor is it a good painting. Evaluation Criteria for the shape of paintings, there are "reasonable", and the world know how to "reason" so few people know the reasons by people who are different from those who do not know how to draw ghosts, or spirits, but is a human variant, but also not easy to draw. Dong Jiyou sigh Most people are only familiar with the shape theory of painting and not know these reasons, "see the reason those little", it is difficult to discuss with the artist painting the essence.
Ouyang Xiu heavy Italy, Dong Jiyou Shigemasa, emphasizing things that are outside the shape. Ouyang Xiu in the "plate vehicle map" the poem said: "The ancient art form is not intended to paint, Mei Shi Yongwu no hidden reason. Carried away proud to know so few do not see the poetry see, for example if the painting." Painting is not the so-called art form, not do shape, intangible, intended nothing to send, but rather focus on Painting, and can not stay in shape, the voter support, meaning more important than shape. Of course, is still the basis of shape, Ouyang Xiu in the "plate vehicle map" of the poem to describe the wonderful graphics like "love their trees and old stone hard, mountain-loop turn, Gao Xia right and wrong, crossfall excitement, Yan ugly woman or oppose their own state, far and near nothing Jieke identified. "It's all out-like shape of the Miao. The so-called "ancient art form is not intended to paint" word in the old paintings, but Ouyang Xiu trend of the times, or heavier shape, such as the academy on the dominant style, so he would like to take this ancient commandment, the ancient painting is intended only He's an ideal state. Poem called "carried away proud of," Ouyang Xiu expressed on the form to convey his ideas of artistic concepts. "Zhuangzi" There are seeing nothing but words, get the fish forgot to Yanase, says that Wang Bi is something to forget as the words, seeing nothing like the theory of the Tang Dynasty Poetry poetry comments talk about things like the meaning, implication purpose and rhyme outside the taste. Tang Lee Si Zhen Dong on the show said: "The pen shape, painted outside the Heart of Gold", poetry has illocutionary meaning, painting has shaped external conditions, the situation was intended. Zhang Yan Yuan also mentioned that "in addition to the shape of making his paintings," then what is the shape of things outside of it? Is nothing but love and the meaning and rationale. To the Song Dynasty, literati painting that fine Kam wonderful view of the know, most of them advocate carried away proud. If Lee Tian Fu in the yellow off, "Yizhou painting was recorded," the preamble said: "Almost all about art and God will be those few men, but depending on its shape. Qiyun his or hole up in excess of clues, that the pen does not work fine, Fu Bing adorned mining is not that of Korea, insofar as forgetting elephant, meaning the first natural products before they can be painted on the succumbed in the industry, Yi Hua Sheng Yu parties themselves. "clear view of Li Tian is to draw only depending on the shape of the person as a Chu Shi painters, and God will be those who can be compared with those fine Kam. Brush up their delicate shape can not be considered work, and only look at the elephant while forgetting elephant, meaning the first course, in order to really fine Kam painting realm. Ouyang Xiu said, "Mei Shi Yongwu no hidden reason," the plum poem refers to the poems of the poet Mei Sheng Yu, he wrote a poem request "will be able to shape hard to write scenes, such as at present, with endless meaning, found in illocutionary. "("61 Poetry")This is the poetry of the high demands, we must shape is difficult to write scenes, but also with endless meaning, poetry so painting is so, "do not see the poetry see, for example if the painting" shows that poetry and painting to convey his ideas in use form of voter support(Forget the words there are still proud of the poem)Have a common point.
Ouyang Xiu will be shaped, and Italy combined with the painting mood:
Depression, being indifferent to this difficult painting was intended. Draw bidders shall, in relation to those who are not necessarily knowledge. So fly away Chi Su, meaning shallow thing easy to see, while the leisure and Yan Jing, Fun difficult to shape much of the heart. If it is Gaoxia support or oppose, far and near to repeat this work of art painting Dole, non-refined Kam who matter are. [10]
Ouyang Xiu is intended that the visible light thing, his so-called Italian shallow thing, that is, the natural shape of salient objects, such as objects Gaoxia support or oppose, far and near repetition, flew Chi Su, will be the draw on the screen easy to identify, this is only painters should do. Far from the heart of the so-called Fun difficult to shape, that is, the performance of leisure and Yan Jing, depressed mood, or being indifferent to the state, it is not easy, this is difficult painting was intended. Ouyang Xiu's comments painted a very clear tendency to be intended to obtaining the shape of those shallow thing called painting jobs, but will show much interest the heart of being indifferent to those of Italy, known as fine Kam, who grade higher, Painting gesture shape more difficult.
Smaller than that of Ouyang Xiu Su Shi30Years old, is a great writer the Northern Song Dynasty, in poetry, words, Fu, literature, calligraphy and painting are all, and the Yuan Ming and Qing literati painting a significant impact. Su Shi's idea of painting is very rich in his paintings comment on the form, God, Italy, and has also published a number of other issues such as insights. Su Shi's paintings relating to goods and preferred form views on the issue may be subject to the impact of Ouyang Xiu.
Su Shi on "On the paintings in order to shape, seen in children's neighborhood; ... ...," a poem to produce a great impact, it also caused all kinds of misunderstandings that have to get rid of the shape of Su Shi, not the shape, including Chen Shizeng so we all hold this view, Sushi by the literati paintings to illustrate his concept of the literati painting thought, right understanding of Su Shi have biased the Department has pointed out that Mr. Ruanpu.[11] Su Shi's poem the song on the painting "The book painted a thin Yanling Wang broken branches the main two," mainly in the first poem on the painting, while the second focuses on the first assessment of the two thin king master paintings. The first poem is as follows:
On the paintings in order to shape, see the neighbors and children; verse poem must be, will be non-known poet. Poetry and painting of the uniformity and inventions and freshness. Side-luan bird painting, Zhao vivid flowers, where the case 2, with the Qing Yun Shu Dan. Who made a little red, Xie send endless spring.
Su Shi's poem, should be fully understood. Huang Binhong, "Letters of residual draft" will be "On the paintings in order to shape", the words "painting in order to shape", is clearly inappropriate. "On Painting" is that concept paintings paintings paintings to comment on the shape of improper stops and can not be changed to "paint" the shape do not have to. 6 is a poem on the painting before the poetry of the discussions, the theory of painting, or painting materials, concept art only shape as a standard to see whether the object similar to the same picture, this is close to look at the paintings of children, only know that the image and objective look at the paintings in the whether the object is like, but not deep into the painting shown deep into Italian. If only the shape of poetry prevail, rather than seeking outside King intended, then he must also be a people who do not understand the law of poetry. Su Shi's really only Tang and Song Dynasties these ideas on the situation outside of painting, painting outside the purpose and emphasis on poetry and the implication, the art scene outside the interesting point of view further elaboration. "Poems and Paintings of the uniformity and inventions and freshness," is that in writing poetry and painting have in common, that is a natural polish inventions without trace, to a fresh conception of pure art of Lang. After six home side with flower Luan Tang, Song Zhao's painting bird-house, expressive features to set off the main thin Wang 2 Orieda paintings, elegant way, Wang's paintings are the main thin-Luan Zhao better than the side of good what went wrong? "Shudan containing the Qing Yun." Zhao Bian Luan is a sketch of the flower industry a class of small, carefully rigorous, and Wang Bo is the main "Shu Dan" should be a different style, "who made a bit of red, Xie send boundless Spring", is that painting is not the key features many, but to contain a wealth of meaning, which as the Tang Dynasty poet talking about "Buzhao word do too romantic." It is also talking about the situation outside of painting, like the outside Italy. If the concept of painting, confined to the shape on the drawing, it is not available from 1:00 in the red, indicating that the endless Harukage. Su Shi's second poem, then the evaluation of a specific reward for goods king master thin two paintings, we have only the past four "thin bamboo like You Ren, You-Hua, such as a virgin. Low-Ang vine of birds, flowers sway between the rain. "will be able to see Su Shi's method of painting on the painting read, he is thin bamboo painting reminds Youren, from the secluded flower associated with a virgin, bird in the vine head high, shaking ricochet off the vine flower rain, really scene blend of fun too. That said, Shi-Ming SU commentary is more than just the shape of paintings, he draws lessons from the painting's image to associate more meaning and emotion, interest and reasonable. But the thin bamboo secluded painting flowers, birds and still have the shape of features in these two poems we all can not find the shape of the so-called broken, not the shape of argument. A comprehensive understanding of Su Shi's point of view, it should be, he advocated painting comments on the painting can not be limited to the shape, the shape of both the painting is also a commentary on the basic requirements of painting, but a higher Tasting and art criticism should be seen as the outer shape of meaning painting outside the situation, just like a painting "a little red" to grasp the "boundless spring."
In addition, Ouyang Xiu stresses "are not intended to paint the ancient art form," Su Shi's talk "On the paintings in order to shape, see the neighbors and children," not in order to shape theory of painting, which also they are a poet, scholar-related. They frequently subconsciously to poetic art, the spirit will be applied to the evaluation of poetry to painting. China's poem is a lyric poetry, poetics also spoke scenes overtones, as outside the purpose and then, Ouyang Xiu, Su Shi as a reference to this commentary on the painting paintings, are bound to not only be concerned about the shape of the very image of the painting problem , but to go deep into the situation outside of painting, and form outside the complacent. Su Shi, "Postscript Landscape Po Chuan-zheng Yan Gong," said: "Yan Gong pen, aspire has been away from the painters of the degree, derived from the poet's Qingli of it." He Yan Gong painting success comes down to the degree from the painters, poets derived from the Ching. Clearly, Su Shi's poem that the paintings have the mood Ren Zhiqing than Manzhi Seiko small carved figures bear a close resemblance to the painting work, its aesthetic value is higher.
Ming Dong Qichang in the "painting Zhi," said: "There Dongpo poem reads: 'On the painting in order to shape, see neighbors with children, will this poem poetry, will be non-known poets'. I say: 'This Yuan painting.' "Ming Shi Su Song Dong Qichang will work on the painting as a poem commenting on the Yuan Dynasty paintings, as if playing the time difference, the so-called yuan Dong Qichang painting what is it? Ni Zan, who is the so-called "Yat pen hastily, not seek the shape, and talk to write emotional chest." Dong Qichang to Su Shi's "On the paintings in order to shape, see the neighbors with children" also will be attached to not seek the shape, it seems to note yuan painting. Modern Su Shi's poem Chen Shizeng will say yes to "break the shape of the extreme." There is a problem, that is why the Dong Qichang and Chen Shizeng, and others to Su Shi's poem on the painting, distorted was commenting on yuan painting or break the shape of it? Is Su Shi's poem intent of these two that they really do not understand? I think Dong Qichang and Chen Shizeng with personal bias is to read Su Shi, what they need, thus giving rise to this misconception. Dong Qichang advocate of painting the North-South 2, praises Nanzong Wang Wei are speaking, it will be obvious that, in assessing Su Song's paintings are contemporary, and deliberately said to be painted as if, in assessing depression of being indifferent to yuan, Yat pen hastily. Chen Shizeng in the20Beginning of the century the utmost protection of literary impressionistic painting, but oppose Chen Tu Kang negative literati paintings, realistic painting restoration academy argument, so Chen Shizeng from Su Shi's poem, contrived to break the shape of a strong point of view, to impose Su Shi. Indeed Dong Qichang and Chen Shizeng are on the painting by Su Shi's poem for my own use. This shows that, even as the Dong Qichang, Chen Shizeng such a great painter and theorist, if biased, would distort the history of such people like Su Shi's idea of art. So give up prejudice, only may be more fair and accurate grasp of the history of artistic concepts, especially the controversial art of thinking.
Another section of Su Shi's remarks on the concept of literati painting quite remarkable, often quoted, namely, "Ba Song Hanjie painting Mountain" in the paragraph:
Literati painting view of the world, such as reading horse, whichever is emotional by that is if the painting, they may just take spur fur-slot pubescens fodder, non-point-Jun-fat, look at a few Chixu be tired. Hanjie true literati painting.
Song Hanjie that Songjahak room, Sung landscape painters. Su Han-jie's painting that mountain, not tradition but not today, slightly out of new ideas. And that the paintings are genuine scholars Hanjie painting. Watch literati painting is like nine Fang Gao reading the world as horses, whichever is emotional as that of Su Shi's use of "Lie Zi" About nine Fang Gao horses survived by his Hin Mu-Li Huang, whichever is "secret" story as an analogy to illustrate Watch literati painting, like the nine Fang Gao view of the world as horses, not just look at fur Deng Xiang, non-point-Jun-fat, that is, there is no anger, so they look at several feet tired.
Passage from the original intent of view, Su Shi is the appreciation of literati painting, while the painters painting the lower evaluation of why the literati painting gesture painting jobs well? Is the painters just extract the Pixiang, though exterior shape, but the image of the more rigid lethargy, while the emotion of the literati painting was taken to, we often overlook the broad fur, still interesting flavor. Su Shi in this respected literati painting, or stressed that the emphasis on form, he is by his teacher Ouyang Xiu, "the ancient art form is not intended to paint" view of the impact. "Tien Chu exclusive domain" contains poetry and painting on the east slope of the words are: "Good artists are not painting Painting shape, good poems are not intended to Tao Tao name." Su Shi's Poetry, Italian emphasis on the name(Introduction), Su Shi's theory of painting, intended to emphasis on the shape(As)Of course, this not be interpreted as Su Shi or not the shape of the shape of the negative. His music has that kind of arbitrary objects, does not seek the shape of those also have been criticized. East slope of the "net due to hospital painting in mind," said: "Therefore, while the Pirates who can deceive the people who will care on those who have no fixed form." He put those paintings are not allowed to shape the excuse that the objective world, no such regular shape those who practice, known as phony and should be disdain.
The Song dynasty, Ouyang Xiu, Su Shi's paintings comment on the painting of the most important feature is that the Wei and Jin-shaped since the development of monotheism-shaped Italian theory, from a God-shaped development was forgotten as proud. Creation of the intended effect is to enhance the aesthetic subject that strengthened the role of the artist's spirit. The emphasis on the Italian paintings in the Song Dynasty Impact Assessment has been more common. We cite just Guo Ruoxu's "picture seen and heard Chi" will be able to glimpse of Leopard evident. As the Commentary Chen Shi Yan states that he painted bamboo work, vigor vigorous, famous at that time, "each on a high wall of endless Jumbo King, or wind, have great charm." Commentary Qiu Shi Yuan, workers painted buffalo, "the spirit of the shape of , the unique charm. "rating as shown 8 Shinshu" YUAN lying snow map "painted figure turns Lin stone farmhouse, Mibu attained pole," from the bitter cold of those states, meaning, such as health. " Therefore, the "charm" "meaning" and Su Shi's so-called "emotional" are important concepts in evaluation painting and art standards.
Why Song will appear stressed that "intended" in art creation and review of the effects? I would like to have the following main three reasons.
First, Gu Kaizhi to write on the form of God, makes a vivid portrait of, and the eye-dotting ceremony of the theory, mainly refers to the figure painting, he emphasized not only the shape but also expressive, showing the spirit of the characteristics of the object, more than just write that the painting is a graphic Maung, air Chen shape to be much more profound. However, landscape painting began to develop since the Sui and Tang, Five Dynasties and the Song flower has also been developed, although it can be borrowed to evaluate the theory of figure painting vivid vivid flowers and birds, landscapes expressive, but the overall feel that drawing portraits in the tasting language, it is better to use charm, meaning science, conception, conception, business, etc. to comment on. Much wider range of Italian painting in the meaning, like the outside Italy, is the whole picture and the state, not just confined to the vivid portrait, including landscapes, flowers and birds can have conception and the inability to express the problem, stressed the Song Dynasty "meaning" and, it is still painting the inevitable development.
Second, in Gu Kaizhi ago, often painting as a kind objects, Elephant Man, like objects, pictograph, which is still in the initial understanding of the painting. Gu Kaizhi system proposed by expressive theory, understanding the nature of the painting a step further, painting is not only mimic appearance, but also spread the object or a spirited charm. To characterize the object's external image and to convey the unity of the object onto the inner spirit of the performance of the object, giving the performance of the object being to life, vitality and spirit of the glory. However, Gu Kaizhi more of a concern was the performance of the performance of the object how to get the problem, but also insufficient attention will issue a painter's own soul. To the Southern Chen Yao has made the most "heart of nature in" issue, while the Tang Dynasty, Zhang is more clearly stated, "teacher and good fortune, in the very heart source" eight words, the creation of the dialectical relationship between subject and object to be incisive description painting the hearts of the main sources of inspiration, imagination and other spiritual activities are intended to threaded attention, awareness creation in the Communication is a key part of the shape of the bone in the conception of this law will, therefore to the Tang and Song dynasties, the conception, drawing attention to Italy, in fact is the objective in creating an object from the simulations of the performance of the inevitable transformation of the subjective feelings and demands of the product is evidence of attention to the role of creative subjects.
Third, the Tang and Song Dynasty poetry and arts of China's major developments, Poetry, poetry commentary, poetics and further expand, due to my poetry has always paid attention, "Poems," poetry, lyricism and Buesching metaphor practice is the characteristics of Chinese poetry poetry Kam products containing not exactly pay attention to in the illocutionary meaning. Together with Tang and Song dynasties, such as Wang Wei, Su Shi is both a poet and a painter, opened up the borders between poetry and painting, stressing the poem there are portraits, there is poetry, in understanding the art of poetry and painting two fundamental differences between the two post-pay more attention to contact and in common. China's poem re-made blog to convey his ideas, heavy overtones, like outside Italy, this tradition has been a poet Ouyang Xiu, Su Shi's borrowing outside of painting, intended to emphasize the intention of emphasis on form, meaning things like hygiene. Painting is not the so-called art form, whichever is emotional as that is, Ouyang Xiu, Su Shi's Poetry and Aesthetics in the re-concentrated expression of ideas and meaning. Ouyang Xiu and Su Shi's artists do not draw on the form, carried away proud about not seeking the shape of Su Shi, whichever is the emotional thoughts and comments to the drawing point of view, the Yuan Ming and Qing paintings comments and ideas about art produced a great impact, especially in more affected by the literati school of painting. To be sure that the idea of Ouyang Xiu and Su in China after the performance of its aesthetic and artistic painting in the performance of character, have played a significant role.
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