“钩勒”法探源述流
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摘要
钩勒法为中国人叙事立象,表情达意的根本技法之一。其在诗文,书法,绘画中运用甚广,由于过于耳熟能详,因而大多时候日用而不觉。晋郭璞笔赞云:上古结绳,易以书契,经纬天地,错综羣艺。日用不知,功盖万世。①此亦可用以赞钩勒法。钩勒二字有刚利意,圆转意,有起止意,有统率意,钩勒法能直取物象形骨,直见画者情性,直通天地之道。开合自如,回环有致,钩勒法之妙,他法难以取而代之。
上古之钩勒,在于刀契,青铜器,玉器铭文,杵书浑厚,刀书清刚,刀法即笔法,已见骨力。
秦汉之钩勒,笔以师刀,中锋用笔,回环有势,提按顿挫,方圆互用,刚柔兼济,笔法精妙,见于《九势》。
魏晋之钩勒,风骨洒然。《笔阵》一图,斩斫有势。骨法用笔,意在点画。紧劲连绵,循环超忽。迁想妙得,与物传神。
钩勒一法,源于太极。阴阳开合,起止回顾。刚健笃实,钩勒之骨。回环往复,生生不已。乾坤易简,迹简意淡。风行水上,自然成文。钩勒一法,技进乎道。
The“Gou Le”method is one of the most fundamental drawing methods , with which Chinese use to narrate, develop images and express feelings . The method is widely used in poetry, calligraphy and drawing . As we are very familiar with it , we seldom realize its existence though we often use it. Guo Pu , born in the Jin dynasty , spoke highly of writing:“Man tied knots as one method to remember something in ancient times.Later, the method was replaced by writing .Writing makes great contributions to the development of society in all kinds of fields and arts. Though it is seldom recognized when used everyday, its contributions are tremendous. The“Gou Le”method can be praised in the same way . The method is named by two Chinese characters. Those two characters are full of rich meanings , including being vigorous ,round, having starts and ends, and commanding . The method can represent images and outlines directly and clearly, showing dispositions of painters and expressing the law of nature. It’s natural and easy to be open and closed , it’s organized to be round ,thus the method is so wonderful that it is difficult for other methods to replace. The method was practiced in cutting tools in the ancient times . People used cutting tools to carve characters or pictures in bronzes or jade articles . Pestle calligraphy is simple and honest while carving calligraphy is clear and vigorous. Carving methods are writing methods to some extent and carving methods can show the strength of carvers . During the Qin dynasty and Han dynasty, the method was practiced by using brush pens, the writing skill followed to the cutting tools . The tip of a writing brush was used when people wrote. The way of the brush is of great momentum, moving forward or backward . From the book JIU SHI we can know that the technique of writing is wonderful, which includes lift, press, pause and so on. Being square and round is the feature which is used in turn. The method couples hardness with softness .
During Wei dynasty and Jin dynasty , the style of the method was elegant and free . The painting BI ZHEN is of great momentum . Drawing by organising ink spots is the essence of the method . Being compact , continuous and moving in cycles are the features of the method . The method expresses the essence of the objects after the imagination of the writer .
The method has its origin in the Supreme Ultimate . The two opposing principles in nature appear in turn , so do start and end . Being vigorous and being honest and sincere can be compared to the bone of the method . Moving in endless cycles is the core of the method . The method seeks being simple and easy . The track of the brush is easy and the meaning is simple . The passage forms naturally like wind moves on the surface of the water . Morality and skills of the writers develop together by using the method .
上古之钩勒,在于刀契,青铜器,玉器铭文,杵书浑厚,刀书清刚,刀法即笔法,已见骨力。
秦汉之钩勒,笔以师刀,中锋用笔,回环有势,提按顿挫,方圆互用,刚柔兼济,笔法精妙,见于《九势》。
魏晋之钩勒,风骨洒然。《笔阵》一图,斩斫有势。骨法用笔,意在点画。紧劲连绵,循环超忽。迁想妙得,与物传神。
钩勒一法,源于太极。阴阳开合,起止回顾。刚健笃实,钩勒之骨。回环往复,生生不已。乾坤易简,迹简意淡。风行水上,自然成文。钩勒一法,技进乎道。
The“Gou Le”method is one of the most fundamental drawing methods , with which Chinese use to narrate, develop images and express feelings . The method is widely used in poetry, calligraphy and drawing . As we are very familiar with it , we seldom realize its existence though we often use it. Guo Pu , born in the Jin dynasty , spoke highly of writing:“Man tied knots as one method to remember something in ancient times.Later, the method was replaced by writing .Writing makes great contributions to the development of society in all kinds of fields and arts. Though it is seldom recognized when used everyday, its contributions are tremendous. The“Gou Le”method can be praised in the same way . The method is named by two Chinese characters. Those two characters are full of rich meanings , including being vigorous ,round, having starts and ends, and commanding . The method can represent images and outlines directly and clearly, showing dispositions of painters and expressing the law of nature. It’s natural and easy to be open and closed , it’s organized to be round ,thus the method is so wonderful that it is difficult for other methods to replace. The method was practiced in cutting tools in the ancient times . People used cutting tools to carve characters or pictures in bronzes or jade articles . Pestle calligraphy is simple and honest while carving calligraphy is clear and vigorous. Carving methods are writing methods to some extent and carving methods can show the strength of carvers . During the Qin dynasty and Han dynasty, the method was practiced by using brush pens, the writing skill followed to the cutting tools . The tip of a writing brush was used when people wrote. The way of the brush is of great momentum, moving forward or backward . From the book JIU SHI we can know that the technique of writing is wonderful, which includes lift, press, pause and so on. Being square and round is the feature which is used in turn. The method couples hardness with softness .
During Wei dynasty and Jin dynasty , the style of the method was elegant and free . The painting BI ZHEN is of great momentum . Drawing by organising ink spots is the essence of the method . Being compact , continuous and moving in cycles are the features of the method . The method expresses the essence of the objects after the imagination of the writer .
The method has its origin in the Supreme Ultimate . The two opposing principles in nature appear in turn , so do start and end . Being vigorous and being honest and sincere can be compared to the bone of the method . Moving in endless cycles is the core of the method . The method seeks being simple and easy . The track of the brush is easy and the meaning is simple . The passage forms naturally like wind moves on the surface of the water . Morality and skills of the writers develop together by using the method .
引文
①(宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社, 2004,179页
②张立斋著:《文心雕龙注订》,北京国家图书馆出版社, 2010,第135页
③(南齐)谢赫撰:《古画品录》,山东画报出版社, 2004,第23页
④(唐)张彦远著:《历代名画记俞剑华注释江苏美术出版社, 2007,第86页
⑤孙通海译注:《庄子》,中华书局,2010年,第113页
⑥黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,图见文首白色硬页
⑦黄宾虹:《论画鳞爪》第365页,参见《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999
⑧黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第121页
⑨(明)张岱著:《夜航船》,冉云飞校点,四川文艺出版社,1996,第217页
⑩(清)张玉书等编:《康熙字典》,上海书店出版社,1985年,第150页。
11(唐)张彦远《历代名画记·叙画之源流》,江苏美术出版社,2007年,第11页
12 (宋)朱熹集注:《论语》,中华书局,1956年,第38页
13黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第302页
14 (宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社, 2004,179页。
15同上,第188页。
17 (民国)郑沅:《吉金馀录》,转录于陈梦家《西周铜器断代》(上),中华书局2004版,第122页。
18顾廷龙主编:《续修四库全书》编纂委员会编,《续修四库全书》第22卷,《经部·易类》,上海古籍出版社, 2002年,312页。
19黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第76页
20王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第145页
21同上,147页
22同上,156页
23 (宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社, 2004,187页。
24同上,第188页
25王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第125页
26(宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社, 2004,171页。
27王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第115页
28黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第29页
29同上,第365页
30王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第225页
31秦锡田撰:《前后汉书儒林传搜遗》,民国20年版,第9页。
32华人德著:《中国书法史·两汉卷》,江苏教育出版社,2002,第67页
33黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第52页
34同上,53页
35 (唐)张彦远《历代名画记》,江苏美术出版社,2007年,第15页
36黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第148页
37华东师范大学古籍整理研究室选编:《历代书法论文选》,上海书画出版社,上海书画出版社, 1979,第56页
38同上,第83页。
39 (唐)张彦远《历代名画记·论顾陆张吴用笔》,江苏美术出版社,2007年,第25页
40 (唐)张彦远《历代名画记·论顾陆张吴用笔》,江苏美术出版社,2007年,第35页
41见前注37
42 (唐)张彦远《历代名画记》,江苏美术出版社,2007年,第45页
43 (梁)沈约撰:《宋书》,中华书局1997版, 2008重印,第112页
44华东师范大学古籍整理研究室选编:《历代书法论文选》,上海书画出版社,上海书画出版社, 1979,第51页
45 (清)卞斌述:《周易通解》,山东友谊出版社, 1989,第239页。
46黄黎星著:《易学与中国传统文艺观》,上海三联书店,2008年,第199页。
47马振彪著:《周易学说》,花城出版社, 2002年,第64、65页
48张立斋著:《文心雕龙注订》,北京国家图书馆出版社, 2010,第15页
49王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第225页
(汉)许慎撰、(清)段玉裁注:《说文解字注》,中州古籍出版社,2006
(宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社,2004
张立斋著:《文心雕龙注订》,北京国家图书馆出版社,2010
(南齐)谢赫撰:《古画品录》,山东画报出版社,2004
(唐)张彦远著:《历代名画记》,江苏美术出版社,2007
孙通海译注:《庄子》,中华书局,2010年
黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999
(明)张岱著:《夜航船》,汕头大学出版社,2009
(清)张玉书等编:《康熙字典》,上海书店出版社,1985年。
(宋)朱熹集注:《论语》,中华书局,1956年
(民国)郑沅:《吉金馀录》,转录于陈梦家《西周铜器断代》(上),中华书局2004版
顾廷龙主编:《续修四库全书》编纂委员会编,《续修四库全书》第22卷,《经部·易类》,上海古籍出版社,2002年
王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版
秦锡田撰:《前后汉书儒林传搜遗》,民国20年版
华人德著:《中国书法史·两汉卷》,江苏教育出版社,2002
华东师范大学古籍整理研究室选编:《历代书法论文选》,上海书画出版社,上海书画出版社,1979
(梁)沈约撰:《宋书》,中华书局1997版,2008重印
(清)卞斌述:《周易通解》,山东友谊出版社,1989,第239页。
黄黎星著:《易学与中国传统文艺观》,上海三联书店,2008年
马振彪著:《周易学说》,花城出版社,2002年,第64、65页
张立斋著:《文心雕龙注订》,北京国家图书馆出版社,2010
马宗霍:《书林纪事》,文物出版社,1984年第1版
郭绍虞:《中国文学批评史》,百花文艺出版社,1999年
俞剑华:中国古代画论类编(上下),人民美术出版社,2004
(清)吴楚材,吴调候:《古文观止(上下册)》,中华书局,2009
陶秋英编选:《宋金元文论选》,人民文学出版社,1984
②张立斋著:《文心雕龙注订》,北京国家图书馆出版社, 2010,第135页
③(南齐)谢赫撰:《古画品录》,山东画报出版社, 2004,第23页
④(唐)张彦远著:《历代名画记俞剑华注释江苏美术出版社, 2007,第86页
⑤孙通海译注:《庄子》,中华书局,2010年,第113页
⑥黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,图见文首白色硬页
⑦黄宾虹:《论画鳞爪》第365页,参见《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999
⑧黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第121页
⑨(明)张岱著:《夜航船》,冉云飞校点,四川文艺出版社,1996,第217页
⑩(清)张玉书等编:《康熙字典》,上海书店出版社,1985年,第150页。
11(唐)张彦远《历代名画记·叙画之源流》,江苏美术出版社,2007年,第11页
12 (宋)朱熹集注:《论语》,中华书局,1956年,第38页
13黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第302页
14 (宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社, 2004,179页。
15同上,第188页。
17 (民国)郑沅:《吉金馀录》,转录于陈梦家《西周铜器断代》(上),中华书局2004版,第122页。
18顾廷龙主编:《续修四库全书》编纂委员会编,《续修四库全书》第22卷,《经部·易类》,上海古籍出版社, 2002年,312页。
19黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第76页
20王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第145页
21同上,147页
22同上,156页
23 (宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社, 2004,187页。
24同上,第188页
25王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第125页
26(宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社, 2004,171页。
27王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第115页
28黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第29页
29同上,第365页
30王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第225页
31秦锡田撰:《前后汉书儒林传搜遗》,民国20年版,第9页。
32华人德著:《中国书法史·两汉卷》,江苏教育出版社,2002,第67页
33黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第52页
34同上,53页
35 (唐)张彦远《历代名画记》,江苏美术出版社,2007年,第15页
36黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999,第148页
37华东师范大学古籍整理研究室选编:《历代书法论文选》,上海书画出版社,上海书画出版社, 1979,第56页
38同上,第83页。
39 (唐)张彦远《历代名画记·论顾陆张吴用笔》,江苏美术出版社,2007年,第25页
40 (唐)张彦远《历代名画记·论顾陆张吴用笔》,江苏美术出版社,2007年,第35页
41见前注37
42 (唐)张彦远《历代名画记》,江苏美术出版社,2007年,第45页
43 (梁)沈约撰:《宋书》,中华书局1997版, 2008重印,第112页
44华东师范大学古籍整理研究室选编:《历代书法论文选》,上海书画出版社,上海书画出版社, 1979,第51页
45 (清)卞斌述:《周易通解》,山东友谊出版社, 1989,第239页。
46黄黎星著:《易学与中国传统文艺观》,上海三联书店,2008年,第199页。
47马振彪著:《周易学说》,花城出版社, 2002年,第64、65页
48张立斋著:《文心雕龙注订》,北京国家图书馆出版社, 2010,第15页
49王伯敏、任道斌、胡小伟主编:《书学集成》河北出版社,2002年6月第一版,第225页
(汉)许慎撰、(清)段玉裁注:《说文解字注》,中州古籍出版社,2006
(宋)苏易简撰,覃建钦整理:《文房四谱》,山东画报出版社,2004
张立斋著:《文心雕龙注订》,北京国家图书馆出版社,2010
(南齐)谢赫撰:《古画品录》,山东画报出版社,2004
(唐)张彦远著:《历代名画记》,江苏美术出版社,2007
孙通海译注:《庄子》,中华书局,2010年
黄宾虹:《黄宾虹文集》书画卷上,上海书画出版社,浙江省博物馆,1999
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