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| Scope: 画筌析览 |
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《画筌析览》
1  | 钩之行止，即群峦之起跌；皴之分搭，即土石之纹痕。山以分按脊生，石用重钩面出。山脚伏而皴侧，坡脊起而皴圆。麻皮虚脚而山空，兼让长林之得致；钉头露额而石豁，又资丛树以托根。解索动而麻皮静，拦草质而牛毛文。钉头莽于木柹，长短同施；豆瓣泼于芝麻，小大易置。卷云、雨点各态，乱柴、荷叶分姿。斧劈近于作家，文人出之而峭；鬼脸易生习气，名手为之而遒。大劈内带凿痕，小劈中含锈迹。石棱面而隐叠千层，山没骨而融成一片，灰堆乃磨头之变境，叠糕即斧劈之后尘。钩多圭角而俗态生，皴若团栾而清韵少。皴之俯仰，披似风芦而垂如露草，皴之缜密，明同屋漏而隐若纱笼。墨带燥而苍，皴间夫擦；笔濡水而润，渲间以烘。衬复而内晕，钩简而外工。钩灵动似乎皴，皴细碎同于擦。顿挫乃钩劈之流行，深浅为渲染之变化。虚白为阳，实染为阴。山面皴空，多是阳光远瑛；山坳染重，端因阴影相遮。劈而不皴，知烘染之有法；皴而不染，知钩劈之意全。著笔为皴，留空痕以成廓；运墨为染，问滃迹以省钩。钩之漫处可以资染，染之著处即以代皴。复染于钩内而石面棱棱，增染于廓外而石脊隐隐。皴未足，重染以发共华；皴已足，轻染以生其韵。盖山容凭皴淡以想像，无泥皴淡而著其伪；树态假点抹以形容，勿拘点抹而失其真。皴之沉酣眎染匪异，点之圆活与皴无殊。点分多种，用在合宜；圆多用攒，侧多用叠；秃笔用衄，破笔用松；掷笔者芒，按笔者锐；含润若渴，带渴为焦；细等纤尘，粗同坠石；淡以破浓，聚而随散。繁简恰有定形，整乱因乎兴会。 |
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