作者：陳池瑜
在先秦至魏晉南北朝時期，隨著中國繪畫、書法藝術的發展，中國美術批評得以展開。與此同時，開始形成中國獨特的批評術語和概念。如象，意的概念，是從先秦哲學中吸收到藝術批評中來，在魏晉得到進一步的闡釋。而形、神的概念，也是借助漢魏六朝哲學形神論中的基本涵義，轉換到藝術批評中，使形、神的概念在魏晉南北朝時期成為美術批評最重要的範疇。象、意、形、神和其他批評術語成為此後中國美術批評的基本範疇體系，成為批評家們品評作品精神內核和形式的藝術標準。
象、意、形、神，是中國美術批評中的最基本的範疇，在中國美術評論的過程中得到了廣泛的運用，並且也成為中國美學的基本概念。
象和形都是一種廣義的視覺形象，是和圖形、圖像相關的，因此和繪畫的本質特點相連。所以象和形歷來被首先用於進行繪畫評論。
我國訓詁專著《廣雅》解釋“畫，類也”。意為繪畫為類似形物。我國最早解釋字義的專著《爾雅》說：“畫，形也。”意為繪畫就是形狀的意思。東漢許慎在所著我國第一部系統地分析字形和考究字源的字書《說文解字》中說：“畫，畛也。象田畛畔，所以畫也”，《說文》的這段對畫的解釋的文字，出自唐代張彥遠的《歷代名畫記·敘畫之源流》，畛，井田間陌也，即田間小路，引申為界限，區分之義，畔，田界。這可否引申為畫即描繪物的形廓。今《說文解字》本，以同治十二年(1873年)陳昌治復據嘉慶十四年(1809年)孫星衍刻字本改刻一篆一行本，對畫的解釋與張彥遠引文不同。今本說：“畫，界也，象田四界，聿，所以畫之，凡畫之屬皆從畫。”[1] 畫就是象田四界，即整齊地畫出物之輪廓，聿為古畫字之上部，即書寫，引申為用筆畫。東漢劉熙撰訓詁書《釋名》說：“畫，掛也。以彩色掛物象也。”為什麽將畫釋為掛呢？是否是用彩色將物象畫成，然後掛起供人觀賞，不得而知。以上對畫的解釋，都同畫物之外形，輪廓有關，畫就是象形、類形，是與造形，賦形不可分的。
我國繪畫，在古代還和書(文字)、八卦緊密相連，有時被放在一起進行論述。據傳漢代孔安國撰《尚書序》說：“古者伏犧氏之王天下也，始畫八卦，造書契，以代結繩之政，由是文籍生焉。”[2] 伏犧、神農、皇帝之書，謂之三憤，言大道也。少昊顓頊高辛唐虞之書，謂之五典，言常道也。在伏犧統治天下時，就開始畫八卦，造書契，結束結繩記事年代，文籍由此而生。《周易》中所說的“設卦觀象”，八卦用象占蔔，由於八卦是抽象的符號，同時也是一種形象，所以稱八卦為畫八卦，畫八卦對書寫文字也相類似，所以稱畫八卦造書契。書(文字)、畫、八卦都有形可觀，都是直觀的形象，所以它們常常被一起加以論述。書(文字)、畫、八卦都是古代中國人觀察天地事物而後創造出來的，“仰以觀於天文，俯以察於地理”(《周易·系辭上》)，觀天察地，“在天成象，在地成形”，也就是觀察天地之象與形。八卦之象，是擬諸形容，象其物宜，八卦是一種抽象化了、符號化了的直觀形象。《周易·系辭上》還說道：
見乃謂之象，形乃謂之器，制而用之謂之法，利用出入，民鹹用之謂之神。是故易有太極，是生兩儀。兩儀生四象，四象生八卦，八卦定吉兇，吉兇生大業。是故法象莫大乎天地，變化莫大乎四時，縣(懸)象著明莫大乎日月，崇高莫大乎富貴，備物致用，立成器以為天下利，莫大乎聖人，探賾索隱，鉤深致遠，以定天下之吉兇，成天下之者，莫大乎蓍龜。是故天生神物，聖人則之。天地變化，聖人效之。天垂象，見吉兇，聖人象之。河出圖洛出書，聖人則之。[3]
所謂見乃謂之象，即觀察天地時，看見的天地萬物之形象則稱為象，也就是法象莫大乎天地。天地兩儀生四象，四象生八卦，八卦定吉兇，吉兇生大業，八卦關系到吉兇大業之大事。在上述引文中，《周易》將設卦觀象同書、圖三者並論，“天垂象，見吉兇，聖人象之，”是說聖人觀天地之象而設八卦，接著說“河出圖，洛出書，聖人則之，”即說圖繪與書法(文字)的傳說中的起源。張彥遠在《歷代名畫記》中也說到“龜字效靈，龍圖呈寶”，古代傳說在伏犧氏時，有龍馬從黃河出現，背負“河圖”(又稱“龍行行圖”)，又有神鬼從洛水出現，背負“洛書”，伏犧根據這些圖和書，畫成八卦，著成《周易》。在《周易·系辭下》中也說到：“古者包犧氏之王天下也，仰則觀象於天，俯則觀法於地，觀鳥獸之文與地之宜，近取諸身，遠取諸物，於是始作八卦，以通神明之德，以類萬物之情。”所以八卦的生成，乃是觀天地之象、察鳥獸之文，近取諸身，遠取諸物的結果。
東漢文字學家、經學家許慎(約58—147年)著《說文解字》，集古文經學訓詁之大成，為後代研究文字及編輯字書的重要根據。他在該書序中，論述文字的產生與發展和書法與繪畫的密切關系。
古者庖犧氏之王天下，仰則觀象於天，俯則觀法於地，視鳥獸之文與地之宜，近取諸身，遠取諸物，於是始作《易》八卦，以垂憲象。及神農氏結繩為治，而統其事，庶業其繁，飾偽萌生。皇帝之史倉頡，見鳥獸蹄迒之跡。知分理之可相別異也，初造書契。百工以乂，萬品以察，蓋取諸。揚於王庭，言文者宣教明化於王者朝廷。君子所以施祿及下居德則忌也。
蒼頡之初作書，蓋依類象形，故謂之文。其後形聲相益，即謂之字。字者言孳乳而浸多也。著於竹帛謂之書，書者如也。以迄五帝三王之世，改易殊體，卦於泰山者七十有二代，靡有同焉。
《周禮》：八歲入小學，保氏教國子，先以六書。一曰：指事。指事者視而可識，察而可見，上下是也。二曰：象形。象形者畫成其物，隨體詁詘，日月是也。三曰：形聲。形聲者以事為名，取譬相成，江河是也。四曰：會意。會意者比類合誼，以見指，武信是也。五曰：轉註。轉註者建類一首，同意相受。考老是也。六曰：假借。假借者本無其字，依聲托事，令長是也。[1]
許慎承襲《周易》說法，庖犧氏作八卦是觀象於天，觀法於地，近取諸身，遠取諸物的結果。蒼頡造字，依類象形，根據各類事物的形象來造字，最初的文字，“故謂之文”，文即紋條，所以最初的字是形紋，後來將形紋和聲音結合，“即謂之字”，然後再著於竹帛，稱為書。文字的產生是“依類造形”的結果。最早的文字是象形文字。許慎所說“六書”即六種造字方法，前三種指事、象形、形聲方法，所造的字如上下、日月、江河等都與形似有一定關系。象形者畫其物也，所以象形字，類似於圖畫勾勒物體之輪廓。這也是中國講書畫同源的根據。
20世紀我國的古文字學家唐蘭，在30年代曾於北京大學開設《古文字學導論》課程，其講稿於1936年印行。一般說來語言先於文字，文字是語言的書寫。唐蘭認為，原始中國語，單言字多，同音異義字多，有聲調的變化，而沒有接頭接尾等形式的變化，這種孤立語的性質，決定了方塊式的中國文字。唐蘭還對那些認為中國文字是誤入歧途，歌頌拼音文字的好處的觀點提出質疑，認為中國語和雅利安語等根本不是一條路，我們的祖先只是走其必須走的路而已。唐蘭在論到中國文字的起源時說，有一種觀點認為文字起源於上古的“結繩而治”的結繩，但所謂結繩論，只是到戰國時的《莊子》和《系辭》才講到，但那只是一種猜想，結繩是否在文字後出現的，也無法考證，因此說文字產生於結繩不一定可信。另一種觀點說文字產生於八卦，唐蘭認為此種觀點牽強附會，因為八卦的抽象符號很難是文字的源頭，唐蘭還認為，所謂河圖洛書是文字之源，這也只是春秋以後的一種傳說，至於倉頡造書，也只是戰國時的一種傳說，唐蘭認為文字不可能是倉頡一人所造。那麽文字究竟是如何產生的呢？唐蘭認為文字產生於繪畫：
文字的產生，本是很自然的。舊石器時代的人類，已經有很精美的繪畫，大都是動物和人像，這已是文字的前驅。畫一隻鹿或象，別人看見了就認識，就得到和文字一樣的效用了。但還不能稱為“文字”。因為這種繪畫，只能抒寫美感，而不能完全表現出作者的意思，假使畫一個較長的故事而讓十個人去解釋，也許會有十種說法的。不過在那時候，除了藝術外，別的文化還不很高，所以這種繪畫並沒有進步而變為繪畫文字。經過了很長的時期，人類由狩獵生活而變為農業畜牧生活，一般文化均有很大的進步，而繪畫雕刻等藝術卻反退步了。但繪畫技術雖退步，範圍則較前為廣，一切可以摹寫的事物，都做了畫材。當這時候國家產生了，一切文化均受刺激而有更速的進步，因之產生了文字，文字的本質是圖畫，所代表的是語言，國家產生後，許多部落的語言，逐漸同化，每一圖形，漸有標準的讀法，於是可以描寫圖形來記載一件故事而這記載是可誦讀的，就成為文字了。[4]
唐蘭的這一觀點提示了文字與繪畫的關系，文字起源於繪畫，文字的本質是圖畫，所代表的是語言。在文字產生的初期，繪畫和繪畫文字除了可誦讀與否外，簡直不能區別。後來文字和繪畫才有了較大的分歧。由於文字起源於繪畫，所以象形文字是中國最早的文字，並成為其後造字的重要方法和字源。
由於中國文字，絕大多數是一字一音，只有蟋蟀等少量的字是兩字一意不能分開，中國的文字不是拼音文字，不是多音節，而是單音節，這就決定了中國文字用方塊作為外形。正是中國文字的方塊形，使共有了對比、構架等，因而有了每一個文字的空間組合，因而具有了繪畫的空間構造視覺特點，這就使中國文字通過一定方法的書寫成為一種視覺形式美即書法藝術成為可能。此外，每一個字的寫法無定，因為各個書家的技術不同，性情有異，點畫偏旁，增減變化，十分靈活，所以書寫同一個字，不同人可以寫出大致相同而又有所變化的不同的字形來。這就使抒寫中國文字可以根據書寫者自己的技巧和性情來加以變化，因而才使中國文字通過書寫成為一種藝術成為真正的可能，加之書寫的工具毛筆與繪畫的工具之一毛筆相同，這樣在書寫文字時，就有了筆力、骨法、剛柔、輕重、疾緩、枯濕等形式美的因素，這使中國書法成為一種東方的神奇藝術，它不但沒有因為後來文字的規範和繪畫的發展而消失，反倒歷久彌新，成為中國藝術與文化的偉大傳統之一。如果中國書法沒有文字的獨立的形，和書法家在規定的形中可以有較大的自由性來重新造形，以及所造的形所具有的豐富的視覺形式美感，中國文字作為書法藝術而長期存在是不可能的。
唐代張彥遠《歷代名畫記》“敘畫之源流”，探討繪畫的起源時，認為書畫同源，都與象形有關。
古先聖王受命應篆，則有龜字效靈，龍圖呈寶。
自巢燧以來，皆有此瑞，跡映乎瑤牒，事傳乎金冊。庖棲氏發於滎河中，典籍圖畫萌矣。軒轅氏得於溫洛中，史皇蒼頡狀焉。奎有芒角，下主辭章；頡有四目，仰觀垂象。因儷鳥龜之跡，遂定書字之形。造化不能藏其秘，故天雨粟；靈怪不能遁其形，故鬼夜哭。是時也，書畫同體而未分，象制肇創而猶略。無以傳其意，故有書；無以見其形，故有畫；天地聖人之意也。按字學之部，其體有六，一、古文，二、奇字，三、篆書，四、佐書、五、繆篆、六、鳥書。在幡信上書端象鳥頭者，則畫之流也。顏光祿雲：“圖載之意有三，一日圖理，卦像是也，二日圖識，字學是也，三曰圖形，繪畫是也。”又周官教國子以六書，其三曰象形，則畫之意也。是故知書畫異名而同體也。洎乎有虞作繪，繪畫明焉，既就彰施，仍深比象，於是禮樂大闡，教化由興，故能揖讓而天下治，煥乎而詞章備。[5]
張彥遠雖然也相信龜字效靈、龍圖呈寶的傳說為書畫起源的觀點，並受儒家思想影響而相信先聖王受天命應籙，但在具體論到書畫起源時，認為蒼頡造字是仰觀垂象，因儷鳥龜之跡而定書字之形，無以傳其意故有書，無以見其形故有畫，所以文字書法和繪畫都是觀象擬形的結果，而且在古代書畫同體而異名。所以觀象模形成為中國書畫起源的最重要的根源。
除用象、形的概念或用觀象模形的思想來源討書畫起源外，在先秦至漢魏六朝還用此來評論美術作品，象物、形似成為評價作品的基本標準。
《左傳·宣公三年》記載，昔夏之方，治理有德，“鑄鼎象物，百物而為之備”。戰國末期的思想家韓非開始用圖形逼真的難易來評定繪畫的題材。《韓非子·外儲說左上》說：
客有為齊王畫者。齊王問曰：“畫孰最難者？”曰：“犬馬最難。”孰最易者？“曰：鬼魅最易。”夫犬馬，人所知也。旦暮罄於前，不可類之，故難。鬼魅，無形者，不罄於前，故易之也。
齊王向畫家探討繪畫的難易問題，畫家告訴他，畫犬馬難而鬼魅易。為什麽這樣說呢？因為犬馬天天在人們面前呈現，人們熟知它們的形體狀貌，畫家稍為畫不準確，人們就會看出其毛病，所以難畫。而鬼魅這東西大家並沒有見過，因此畫家畫成什麽樣子就是什麽樣子，大家不會挑剔，所以畫鬼魅相對來說要容易。畫家向齊王所回答的難易問題之內在標準就是逼真摹形問題，即形似問題。為什麽畫犬馬難呢？就是因為人們天天見到犬馬，畫家稍有畫不準的地方，人們很容易發現，這樣畫家必須認真畫得逼真。在此逼真形似是畫家作品的客觀標準。漢代王充將繪畫與文章比較，推崇文章具有言教作用，而繪畫則“置之空壁，形容具存，人不激勸者，不見言行也。”(《論衡·別通篇》)王充承認繪畫有圖形的作用即“形容具存”，所以人們喜歡看圖畫所繪古之列人。但因圖畫人物並不能活動，沒有言行，所以在教化方面趕不上“古賢之遺文。”當然王充對繪畫的特點和作用的認識有一定局限，但他對圖畫“形容具存”特點的認識還是正確的。
到東晉顧愷之將形、神統一起來並用於繪畫評論中，提出傳神寫照，以形寫神的觀點，這可以說，極大地深化了形神理論，並提高了美術批評的標準。但在顧愷之之前，已出現了不僅局限於形似的觀點，而將形似與內在精神結合起來評定繪畫作用。
在此應提一下《莊子》中的法天貴真的思想：
孔子愀然曰：“請問何謂真？”客曰：“真者，精誠之至也。不精不誠，不能動人。故強笑者雖悲不哀；強怒者雖嚴不威；強親者雖笑不和。真悲無聲而哀，真怒未發而威，真親未笑而和。真在內者，神動於外，是所以貴真也。……禮者，世俗之所為也；真者，所以受於天也，自然不可易也。故聖人法天貴真，不拘於俗。”[6]
In the pre-Qin to the Wei, Jin and Southern and Northern Dynasties period, as Chinese painting, calligraphy and arts development, Chinese art critics can take place. At the same time, critics began to take shape China's unique terminology and concepts. Such as elephants, meaning the concept is absorbed from the pre-Qin philosophy, to art criticism, during the Wei and Jin to be a further elaboration. The shape, the concept of God, but also through philosophy and Han Dynasties form the basic meaning of monotheism, the conversion to art criticism, so that shaped the concept of God, Northern and Southern Dynasties period to become the most important areas of art criticism. Such as, Italy, shape, God and other critics term as criticism of Chinese art since the basic category system, as critics judge their work and form the spiritual core of the artistic criteria.
Such as, Italy, shape, spirit, art criticism is the most basic areas of the comments in the course of Chinese art has been widely used, and also became the basic concepts of Chinese aesthetics.
The Elephant and the shape is a broad visual image, and it is graphic, image correlation, and therefore the nature and characteristics connected and painting. So, like, and shape has always been used for drawing the first comment.
My Exegesis monograph "Guang Ya" interpretation "of painting, the class of it." Meaning for the painting of similar-shaped objects. China's first monograph to explain the meaning of words, "Er Ya," said: "The painting, shapes too." Intended for the painting is the shape of meaning. Han Xu Shen in the book China's first systematic analysis of the shape and elegant Zi word book "Shuo Wen Jie Zi" and said: "painting, Zhen also. Like Tian Zhen River, so painting", "Wen said," The this interpretation of the text on the painting came from the Tang Dynasty, Zhang Yan Yuan's "narrative paintings of the origins of ancient paintings," Zhen, well field Maek also, that is, field paths, extended the limit to distinguish between meaning, River, Tian sector. This can be extended for the painting that depicts objects shaped profile. This "Explanation" This, to Tongzhi twelve years (1873) Jiaqing fourteen years, according to Chen Chang Zhi-Fu (1809), Sun Xing-yan lettering engraved on a Fragrance of the Reform party to this understanding of artistic interpretation and Zhang Yan is far different from citations. Imamoto said: "The paintings, circles, like the Tin 4 sector, the pen, so painting, where painting is all of a painting." [1] painting is like the Tin four circles, namely, to draw things neatly to the contours of Lut word of the upper part of the old painting, or writing, be extended for the use of strokes. Interpretations of the Eastern Han Liu Xi essays book "Release name" said: "The painting, hanging also. With color is also linked physical image." Why does the picture interpreted as linked? Whether the color will be drawn into a physical image, and then hang for people to watch, is not known. The above interpretation of painting, all art objects of the same shape, outline of the painting is the figure, class shape, with the shape, shaped inseparable.
My paintings, in ancient times also, and books (text), gossip closely linked, and sometimes discussed have been presented together. Han reportedly Kong Anguo essays, "chancery order," said: "The magnitude of the sacrifice to ancient Fu Wang Tianxia also before painting gossip, making the book title deeds to the government on behalf of tie knots, which has Wenji grow wherever." [2] V sacrifice, Shen Nong, the emperor of the book, that of the three anger words Avenue also. Shaohao Zhuanxu Gao Xin Tang Yu's book, that's five Code, the words often Doya. In the V sacrifice the rule of the world, we began to draw gossip, making the book title deeds, ending Jieshengjishi era Wenji for us. "Zhou Yi" in the word "set Gua elephant", gossip with like fortune telling, because gossip is abstract symbols, but also an image, so called for the painting gossip gossip, gossip paintings are also similar to the written word, so that Bagua-made picture books deed. Book (text), art, gossip has a substantial form, is an intuitive image, so they are often together on it. Book (text), paintings, ancient Chinese observation of gossip are things in heaven and earth and then created it, "Yang in order to observe in astronomy and look down to detect the geographic" ( "Book of Changes on the copulative"), Sky Review, the " In Tiancheng elephant, on the ground forming ", that is, the signs of heaven and earth observation and shape. Gossip of the elephant, is intended to describe various, like their material to date, gossip is a kind of abstraction, and symbolic of the visual image. "Zhou Yi copulative on the" also said:
See Naiwei of the elephant-shaped Naiwei of the device, the system will use that of France, the use of access, the people that use it the god of salt. YI lumbered with tai chi, is born astrotech. Astrotech Health four images, four images and Health and gossip, gossip be good or bad fortune, good or bad fortune health cause. Therefore in France as a great peaceful world, a great change in peace 4:00, county (suspended), as a big peace ming MO sun and the moon, noble of great wealth and peace, prepare material Zhiyong, Li Synthesizer that the world benefits, a great peace saints, A Probe Into Suoyin , hook deep-Zhi Yuan to set the world's good or bad fortune, into the world of persons, a great peace Achillea turtle. Therefore in a natural fetish, then the sage. Heaven and earth changes, effect of the saints. Days hanging elephant, see the good or bad fortune, like the saints. River out of tulo a book, while the sage. [3]
The so-called See Naiwei of the elephant, that is, when heaven and earth observation, he saw the image of the heavens and the earth is known as the elephant, that is, law as a great peaceful heaven and earth. Heaven and Earth astrotech Health four images, four images and Health and gossip, gossip be good or bad fortune, good or bad fortune health cause, and gossip related to the cause of the event good or bad fortune. In the above quotation, the "Book of Changes" will be set up Gua elephant with the book, map, and on the three "days of weeping elephant, see the good or bad fortune, like the sage," is that concept of heaven and earth as the saints set gossip, and then said, "River out of map, Luo a book, then the sage, "and that means the illustrations, and calligraphy (text) in the origin of the legend. Zhang Yan Yuan in the "Chronicles painting in mind," also said "the word turtle Xiao-Ling, Lung was treasure", the ancient legend in the V's sacrifice, there appeared the Rabbit from the Yellow River, carrying the "river diagram" (also known as "Dragon trekking map "), another ghost from the Luohe appear, burdened with the" Luo Shu ", V sacrifice the basis of these maps and books, painted gossip, book as" Book of Changes. " In the "Book of Changes, under copulative," also said: "those who package the expense of the ancient clan of Wang Tianxia also, Yang is elephant in the day, overlooking the view of France in the ground and watch birds and animals and earth should the text of the past to take Moromi far come from the objects, so before making the gossip, to pass the gods of Germany, to class all things love. "So the gossip generated, Naishi concept of heaven and earth, as, observing birds and animals of the text, nearly taken from the body, far take the results of various objects.
Han characters scientist by scientist Xu Shen (about 58-147 years) of "Shuo Wen Jie Zi", set the Critical Interpretation of Classical Chinese classics the culmination of research for future generations, the word book writing and editing important basis. In the book preface, he discusses the emergence and development of writing and the close relationship between calligraphy and painting.
Who's the expense of the ancient kitchen Wang Tianxia, Yang is elephant in the day, overlooking the view of France in the ground, depending on the birds of the text and earth should, nearly taken from the body, well come from the objects, so before making the "easy" gossip , to hang like a constitution. And the rule of Shennong tie knots, while the Commission sit, cane industry, its complex, decorated pseudo-initiation. Emperor Shi Cang Jie, see traces of animal hooves Xiang. Known points is reasonable may be relative to other differences also, made the early deed books. Hundreds of hands in order to mow, 10000 products to detect, cover is taken from. Yang, WANG Ting, Yan Wen-ming, were missionaries in the king of the court. So, gentlemen, and Shi Lu Ji also is under Gude.
Cang Jie for the beginning of the book, Guy type figure, so that the text. Then shaped pan benefits, that is, that's the word. Words Ziru word for more than the dip. Forward on Bamboo and Silk that book, the book, such as those who are. As of five emperors of the Three Kings to the World, Gai Yi Shu body, there are 70 hexagrams in Taishan are second-generation, have the same extravagant Yan.
"Zhou Li": the age of eight into the elementary school, Paul teaches the child's first six books in order. The first expression: means something. Refers to those things which may be subject knowledge, observing the visible, is also up and down. Second expression: pictographic. Pictograph who painted their objects, with the body Gu bend, sun and the moon is also. Third expression: shape sound. Sound by the name of shape to do, take metaphor complementary and rivers is also. Si Yue: knowing. Yi than the category of knowing who to see that, Takenobu is also. Wu Yue: turn injection. Note those who turn to build a class and agreed to be compared. Test always has. Liu Yue: under the guise of. Under the guise of those who are no the word, according to sound care trouble, and that is also long. [1]
Xu Shen's inherited the "Book of Changes," saying, kitchen gossip to make sacrifice's yes elephant in the days and watch what law was in the past come from the body, far from taking the results of various objects. Cang Jie-defined characters, depending on type figure, according to the image of all kinds of things, to creation and the original text, "so that the text", the text that pattern to follow, so the first word is shaped pattern, then the combination of shape and sound patterns , "namely, that the word", and then forward on Bamboo and Silk, known as the book. The resulting text is "in accordance with class shape" result. The earliest text is hieroglyphics. Xu Shen said, "Six" that is six kinds of created characters method, the first three that matter, figure, shape sound methods, made, words such as up and down the sun, moon, rivers and so on have a certain relationship with the shape. Pictograph by painting their take things so pictographic character, similar to the picture sketched the outline of an object. This is also the Chinese talk about painting homology basis.
The 20th century, China's ancient writing scientist Donelan, Peking University was set up in 30 years, "Paleography Introduction" course, its script published in 1936. Generally speaking, the first language in the text, the text is written in the language. Donelan that the original Chinese language, single words words and more homonym more than a change in tone, rather than the suffix in the form of joint changes in the nature of this isolated language determines the box type of Chinese characters. Donelan also those who believe that Chinese characters are misguided, extol the benefits of alphabetic writing to challenge the view that the Aryan languages such as Chinese language and is not a way, our ancestors only go just the way it must go. Donelan Commenting that the origin of Chinese characters, said that there was a view that originated in the ancient language of "knot rope-and-rule" the knot of rope, but the so-called theory of tie knots, but to the Warring States Period of the "Zhuangzi" and "copulative" was mentioned, but it is only a guess, tie knots in the text after it, and can not research, so that the text does not necessarily arise from the credibility of tie knots. Another view was that the text resulting from gossip, Donelan view that such far-fetched, because the gossip of abstract symbols is hard to find the source of the text, Donelan also believe that the so-called River tulo book is the source of the text, this is only the Spring and Autumn After a legend, as Changjei made book, Warring States period, when only a legend, Donelan that the text can not be constructed, one person Cang Jie. How was it writing it? Donelan that the text stems from Painting:
Text generation, this is very natural. Paleolithic humans, has been a very beautiful paintings, mostly of animals and human figures, this is the text of the precursor. Painting, or like a deer, others saw the understanding, and text get the same usefulness. But it can not be called "text." Because of this painting, only Compose a beauty, but not to fully demonstrate the author's meaning, if drawing a long story and let the 10 individuals to explain, there may be 10 kinds of views. But in time, in addition to the arts, the other cultures is not that high, so this painting does not progress into painting the text. After a very long period of time, human life into agriculture from hunting animal life and culture in general have great progress, but the art of painting sculpture unexpectedly slipped. However, although the deterioration painting techniques, the scope is wide than before, all you can depict things that have done a painting material. When this time the country had, and all cultures are subject to stimuli more speed progress had gained from the text, the text is the essence of drawings, which represent the language, country produce, many tribal languages, the gradual assimilation, each a graph, are beginning to have a standard pronunciation, so you can record a description of graphics to the story which records are available for reading on a text. [4]
Donelan of this view suggests the relationship between text and painting, writing originated in painting, writing is the essence of drawings, which represent the language. Produced in the early stages of writing, drawing and painting in addition to reading the text or not, the simply can not distinguish between. Later, writing and painting have a greater differences. As the text originated in the painting, so the earliest Chinese pictographic writing, and became an important method was defined in the Private and Zi.
Chinese characters are almost word for word a tone, only a small number of crickets and other word is a word meaning can not be separated from the Chinese written language is not a phonetic system, not multi-syllable, but one syllable, which determines the square Chinese characters block as shape. It is the box-shaped Chinese characters, so there were a contrast, architecture and so on, which has space for each combination of a text, which has a spatial structure of the painting visual features, which makes Chinese characters by means of some method of writing into a Visual formal beauty that is the art of calligraphy is possible. In addition, each word written in a non-fixed, because the technology in various calligraphers different temperament vary, stipple the radical increase or decrease in change, is very flexible, so write the same word, different people can write roughly the same but are subject to change different shape to. This makes Compose written in Chinese characters themselves according to the skills and temperament to be changed, which made Chinese characters by writing into an art form become a real possibility, combined with a brush and painting tool used for writing one of the tools the same brush, so that In the written text, there is the pen force, bone method, hard & soft, light and heavy, slow disease, such as dry wet formal beauty of the factors, which makes Chinese calligraphy into a magical art of the Orient, it has not because it was written specifications and drawings the development of disappeared hand, renovated and became the great Chinese art and culture traditions. Chinese calligraphy writing if there is no separate form, and calligraphers in the prescribed form can have greater freedom of maneuver to re-shape, and have made, shaped by a rich visual form of beauty, as the art of calligraphy and Chinese characters long-term existence is impossible.
Tang Yan-Yuan, "Chronicles painting in mind" "Syria and the origins of painting" to look into the origin of painting that painting homology, are related with the pictographic.
Ordered to be the first deities of ancient seal characters, there are turtles characters Xiao-ling, the dragon was treasure map.
Sui has been out of its nest, there are the Swiss, trace Ying-Yao dispatch peace, peaceful golden books do pass. Kitchen Habitat's hair in the Ying River, books, pictures Meng carry on. Xuanyuan's may, Winlaw, the Cang Jie Shi Huang Yan-like. Kui have, c., the next main rhetoric; Jie has four eyes, weeping like Yang Guan. Li bird turtle because of the tracks, the words of the book gradually given shape. Good luck can not hide their secret, so rain Su; soul can not be lodged in accordance with its strange shape, it is a ghost night crying. Yes, also, painting without points with the body, like the system, but still slightly Chao Chong. No order to pass the Italian, so the books; no set are reflected in its shape, so it is art; heaven and earth sage meaning also. Character studies by the department, its body has six, one, classical, two, odd characters, three, Seal script, four, Sato books, five, Miao Fragrance, six, bird books. In a letter written to side like a bird streamers were the first, then the painting and his ilk are. Yan Guang-lu says: "Figure contains meaning there are three, one-day Dettori, Guaxiang is also, on the 2nd map knowledge, word study is also, third is graphics, painting is also." Zhouguan also teaches the child to six books, the third is figure, then the painting is also intended. Is a refresher different name but the same body painting also. Danger of making peace with the IMC painted, painting-Ming Yan, both on-chang Shi, still deeply than the elephant, so big illustrates Lile, indoctrination by Xing, and it could greet the world so that rule-hwan peace and the word chapters prepared. [5]
Zhang Yan Yuan Although I believe the word tortoise Xiao-Ling, Lung Bao was the legend of the origin point for the painting and the influence of Confucianism is believed to be teaching by fate to be the first memo, but in a specific theory of the origin of the paintings that defined in the Private Cang Jie is the Yang Guan hang like, because of the beauty of bird turtle may be the book traces the word's form, no meaning and therefore have to pass their books in order are reflected in its shape and therefore there is no painting, calligraphy and painting are the words so as to be shaped view of the results of , but also in the ancient painting and calligraphy with the body and synonyms. Therefore, the formation of concept model for the Chinese painting and calligraphy, as the origin of the most important source.
In addition to using elephants, the concept of shape or mold the shape of elephant paintings discuss the ideological sources of the origin of things, in the pre-Qin to Han, Wei and Six Dynasties also use this to comment on art works, such as objects, the shape of the basic criteria for evaluating work.
"Zuo Xuan Gong three years" records, Xi Xia Fang, management ethics, "Forging the tripod like objects, prices are prepared to do this." The late Warring States thinkers Han Fei began to evaluate the difficulty of realistic graphics painting subject. "Han Fei Zi, said outside the reserve left," said:
King Qi Bet passenger and promising artists. King of Qi asked: "Art As everyone who the hardest?" Said: "pleasures hardest." As everyone who are most vulnerable? "Yue: ghost of the most vulnerable." Fu pleasures, people are also known. Danmu exhausted in the former, non-class of, so hard. Ghost, an invisible person, not exhausted in the former, it's also easy.
King of Qi to the artist to explore the issue of difficulty of painting, the painter told him that the painting is difficult and the ghost easy pleasures. Why do I say? Because every day in people's pleasures before the show, people familiar with their physical Zhuangmao painter painting a bit inaccurate, people will see their problems, so difficult to draw. The ghosts that we have not seen anything, so what kind of artist that painted to look like, we will not be picky, it is relatively easier to draw ghosts. Painter to the king of Qi by the difficulty of answering the question of the internal standard is realistic ġ shape, namely, the shape of the problem. Why is it difficult to draw pleasures? It is because people see every day pleasures, artists are not allowed to place a little painting, it is easy to find, so artists must be carefully painted lifelike. In this real shape of a painter works of objective criteria. Han Wang Chong's paintings and articles will be compared to the role of respected articles have is better than precept, while the painting is "purchase of the empty wall, described as a deposit, to persuade those who do not shock, but no words and deeds of people." ( "Lun Heng Do not throughout"), Wang Chong recognition of the role of drawing a graph that is "to describe a deposit", so that people like to see pictures of people painted ancient columns. But does not activities, drawing characters, no words and deeds, so gaps in the indoctrination, "left the text of the ancient Xian." Of course, the characteristics and Wang Chong of the paintings have a certain limited understanding of the role, but he was drawing "to describe a deposit," understanding of the characteristics of is still correct.
To the Eastern Jin Dynasty Gu Kaizhi will be shaped and used in drawing God unify comments, made vivid portrayal in order to form writing God's viewpoint, it can be said to have greatly deepened the form of God theories, and improved standards of art criticism. However, before the Gu Kaizhi has emerged not only limited to the shape of the view, but will combine the spirit of the shape and internal assessment of the role of painting.
It should mention "Zhuangzi" in the law of your days are really thinking:
Qiaoran Confucius said: "Could I ask what the truth?" Guest said: "real person, sincere matter to have. Is not fine is not sincere, not moving. So strong though sad not feel sad for those who laugh; strong anger while not Viagra Yan; strong pro-who Although laughter discord. really sad silent and sad, I really anger has yet to issue the Viagra, I really did not laugh and instead pro. true, including those who, God moving on the outside, is so expensive is also true. ... ... ceremony, who is also the laity ; real person, and therefore also in the days, nature is not easy to have. so sage observing law of naturalness and cherishing truth
, the informality in the vulgar. "[6]
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