谢赫“六法”的歧解及真义

谢赫在《古画品录》中首先提出“六法” ,并以此作为一种标准对画家及其作品进行品评。魏晋之后 ,画家与批评家在实际运用中无不以此为准绳。可是 ,在运用这一尺度中 ,往往由于论者的视角及观念上的差异 ,从而造成了对“六法”真义的歧解 ,其中不乏偏颇之见。这种歧解势必造成标准的混乱 ,从而带来绘画创作与品评的随意性。当代中国画所面临的危机 ,从某种意义上讲与这种认识上的偏离有着直接的关系。究其深层原因 ,与我们在理解和运用“六法”时已不再去考察其产生的背景 ,不再从谢赫对“六法”运用的角度来理解它有关。直解“六法”真义显得十分重要

Misinterpretation of Xie He's Six Modes and its True Sense

The Six Modes, first introduced by Xie He in his A Collection of the Comments on Ancient Paintings, has been functioning as a criterion by which the painters as well as their works of art could be examined and commented on. For example, the painters and their critiques after Wei and Jin Dynasties invariably abided by this criterion. In the application of this criterion, however, there arose the misinterpretation of the real sense of the Six Modes and even distortion of it, due to the differences in the critics perspectives. The misinterpretation certainly led to inconsistency with the criterion and further randomicity in the production of paintings and the relevant comments. The crisis now confronting Chinese painting could, to some extent, be regarded as resulting mainly from the deviated interpretations, whose root cause boils down to our negligence about the background in which the Six Modes was created. It would be even less likely that we interpret the Six Modes by drawing on how it was used by Xie He.In short, it is of vital importance to precisely figure out the real sense of the Six Modes.