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| Scope: 畫史會要 |
| Condition : Contains text 「㶘」 |
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22  | 董廣川書孫白畫《水圖》曰：畫師相與言靠山不靠水，謂山有峰巒崖谷，煙雲樹石，可以縈帶掩連，見之至水，則更無帶映，曲文斜勢，要盡其窊隆派別，故於畫為尤難。彼或爭勝取竒以誇張當世者，不過蹙紋起浪，若更作蛟蜃出沒，便是山海圖矣。唐人孫位畫水必雜石，為驚濤怒浪，葢失水之本性，而求假於物，以發其湍瀑，是不足於水也。曲陽廟壁有畫水，世傳為異，葢水紋平漫，隱起浮流，混混不息。其後有梯升而崇者，知闢為隆，窪為下，隨勢為水，以是衒於世俗，而人初未識其偽也。元初孫白始剏意作㶘𣵁浚原平波細流，停為瀲灩，引為決洩，盡出前人意外，別為新規。勝槩不假山石為激躍而自成迅流不借，灘瀬為湍濺而自為衝波，使夫縈紆曲直，隨流蕩漾，自然長文細絡，有序不亂，乃真入神水也。大開一門戶矣，嘗言畫漫水要，不斷水脈，為工畫急水，要不混洄瀾為工。若今以二說觀世之畫水者，真可一笑也。夫漫流之水，則為池水風紋，更無流脈。畫迅流者，則浪頭沸起，反如印板，豈勝道哉？要知畫水者當觀其源次，觀其瀾又，其次，則觀其流然知此者葢鮮耳。故知汪洋涵蓄，以滔沒為平，引脈分流，以澹蕩為勢，至於聚為漪瀾，散為淰㴸，游泳乎其中而不系於物者，此真天下之水者也，亦知求於此乎？ |
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