绘画书法化在南朝还只是理想。之所以称为理想,乃在于作为绘画的标准,此时的象形远未达到文字学意义上的象形式的简略与象征。而且更由于“书取少,画取多”(宋·郑樵),在写实性未得到充分发展之前,即使抛开汉字这一基础不谈,两者在相当长时期内也不可能完全同一,而更多的是方式的接近,因而书法化亦只能是一种理想。但正是有了这一理想的指引,绘画朝书法化的彼岸进行了艰难而漫长的跋涉。本文再论“六法”与书法关系,希望推动深入研究汉字、书法与中国画的关系。 Painting calligraphy in the Southern Dynasty is only ideal. The reason why it is called an ideal lies in the fact that as the standard of painting, the pictographic form at this time is far from reaching the simplistic and symbolic form of pictorial meaning. And even more, because “less books are taken, more pictures are drawn” (Song Zhengqiao), it is impossible for them to be quite long before they put aside the foundation of Chinese characters until the realism is fully developed Exactly the same, and more is the way of approach, so calligraphy can only be an ideal. However, with this ideal guideline, the painting made a difficult and lengthy journey to calligraphy. This article will discuss the relation between “Six Methods” and calligraphy, and hope to promote the further study on the relationship between Chinese characters, calligraphy and Chinese painting.