如果问起中国画的核心内涵是什么?回答的答案大致是一样的:笔墨技法。笔墨技法是用笔方法和用墨方法的简称。不少能画几笔的人往往认定笔墨技法是“文人画”的产物。其实,对用笔方法的注重早在六朝时期已有理论总结——谢赫的六法论。之后,荆浩所著的《笔法记》总结得更为丰富。之后的之后,历代绘画高手大都有创作实践的理论总结。尤其是近代的黄宾虹和陆俨少对笔墨技法理论总结得更加透彻,可谓集历代笔墨技法理论之大成者。本文意在表述笔墨技法的本义与中国画发展之间的内在必然关系,对时下一些“创新”狂徒、未入门已成家的大师们作善意的提醒。同时,也包括忙碌在中国画作品收藏一线的藏家们。 If you ask the core content of Chinese painting is what? Answer the answer is roughly the same: brushwork technique. Pen and ink techniques is the abbreviation of pen method and ink method. A lot of people who can draw a few pencils often identify pen and ink techniques as the product of “literati painting.” In fact, there is a theoretical summary of the pen-based approach as early as the Six Dynasties period - Xie He’s six-law theory. After that, Jing Hao’s “Writing Notes” summed up more abundant. After that, most of the masters of past dynasties have the theoretical summary of their creative practice. In particular, modern Huang Binhong and Lu Yan less summed up the theory of brushwork and ink techniques more thoroughly, can be described as a culmination of the past theory of pen and ink techniques. This article intends to express the inherent relationship between the original meaning of brushwork and Chinese painting and the development of Chinese painting, and give goodwill reminders to some of today ’s “Innovators” and masters who did not get started. At the same time, it also includes collectors who are busy collecting first-line Chinese painting works.