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《畫筌析覽》
1  | 鉤之行止，即群巒之起跌；皴之分搭，即土石之紋痕。山以分按脊生，石用重鉤面出。山腳伏而皴側，坡脊起而皴圓。麻皮虛腳而山空，兼讓長林之得致；釘頭露額而石豁，又資叢樹以托根。解索動而麻皮靜，攔草質而牛毛文。釘頭莽於木柹，長短同施；豆瓣潑於芝麻，小大易置。卷雲、雨點各態，亂柴、荷葉分姿。斧劈近於作家，文人出之而峭；鬼臉易生習氣，名手為之而遒。大劈內帶鑿痕，小劈中含鏽跡。石棱面而隱疊千層，山沒骨而融成一片，灰堆乃磨頭之變境，疊糕即斧劈之後塵。鉤多圭角而俗態生，皴若團欒而清韻少。皴之俯仰，披似風蘆而垂如露草，皴之縝密，明同屋漏而隱若紗籠。墨帶燥而蒼，皴間夫擦；筆濡水而潤，渲間以烘。襯複而內暈，鉤簡而外工。鉤靈動似乎皴，皴細碎同於擦。頓挫乃鉤劈之流行，深淺為渲染之變化。虛白為陽，實染為陰。山面皴空，多是陽光遠瑛；山坳染重，端因陰影相遮。劈而不皴，知烘染之有法；皴而不染，知鉤劈之意全。著筆為皴，留空痕以成廓；運墨為染，問滃跡以省鉤。鉤之漫處可以資染，染之著處即以代皴。複染於鉤內而石面棱棱，增染於廓外而石脊隱隱。皴未足，重染以發共華；皴已足，輕染以生其韻。蓋山容憑皴淡以想像，無泥皴淡而著其偽；樹態假點抹以形容，勿拘點抹而失其真。皴之沉酣眎染匪異，點之圓活與皴無殊。點分多種，用在合宜；圓多用攢，側多用疊；禿筆用衄，破筆用松；擲筆者芒，按筆者銳；含潤若渴，帶渴為焦；細等纖塵，粗同墜石；淡以破濃，聚而隨散。繁簡恰有定形，整亂因乎興會。 |
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