http://www.skyren-art.com/zh_tw/masterpieces/297-2010-06-04-14-29-14.html?start=1
３） 關於大巧若拙美學觀的若干思考 Google Translation：a) Some Thoughts on the Aesthetic Ideology of Greatness and Righteousness - ； Google Translation：b) A number of considerations on the aesthetically pleasing aesthetics, - First, the clumsy is beyond the movement, to chance by chance；Google Translation：c) Some thoughts on the Aesthetic Views on the Great Qiao Ruo Zhuo, Google Translation： d) Some thoughts on the Breathtaking Aesthetic Views, Google Translation： e) Some thoughts on the Aesthetic View
作者：朱良志
（ｓｐｔｔ註）
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Movement is clever, but the pure white state is the clumsy. In Chinese aesthetics, movement means: (1) It is a purposeful activity. Movement, is what to expect. The purpose of seeking to restrict the choice of the soul, it is not a free state of creation. (2) It is a kind of knowledge activity, human reason, experience and so constitute the motivation of the root causes, thus forming the cover of the true nature of life. (3) It is an activity carried out in accordance with the law, movement means "law", statutory and clear heart does not exist.
The aesthetically pleasing aesthetic concept emphasizes the transcendence of the movement: it opposes the pursuit of purpose, emphasizes the contingency; opposes the calculation of knowledge, emphasizes the transcendence of the moment, the fact that the participation of knowledge is inversely proportional to the aesthetic depth; Predecessating the existence of the order, emphasizing the law is not fixed, the aesthetic is not the realization of the preexistence of the law, but freedom, freedom, follow the creation of activities. Zhang Rong of the Southern Dynasties said: "I do not hate the rule of no one, and I hate the rule of no courtiers." Tang Li Beihai said: "I am vulgar and learn to die." Shi Tao said: That is breaking the law enforcement. For art, can not do with the wave of people.
Chinese aesthetics emphasizes that aesthetic activity is a kind of activity that does not mean to seek each other's ideas and meets one another unexpectedly. The aesthetic beyond lies in the "table of tacit imagination", but it can be met instead of seeking. Demanding, is the purpose of the activity. In case, it is a chance of chance. Incidentality is actually a manifestation of the original motivation of life. In fortuitous encounters, remove all obscuration, abandon the external rational efforts, and make life itself clear. This contingency state, is a clumsy - a kind of unconcious mind state.
Chinese aesthetics formed a series of related aesthetic problems.
Chinese aesthetics advocates "no camp" - a kind of unconscious creation without psychic camp. Dong Qichang said: "The ancients' airiness is the essence of the book, and the essence is at random, as a result of self-actuality.
[1] The so-called "operator" is a good plan beforehand. This is a deliberate operation and a deliberate operation. Therefore, it is not natural. The metaphor of Feng Shui in the Northern Song Dynasty was well known in the history of aesthetics. He said: "There is no camp in the world and the students, but water and wind only."
[2] Popular on the water, naturally written, is "no camp", because there is no mechanical presence, aesthetic transcendence depends on the occasion of chance. Popular metaphor on water, and the "Book of Changes" Gua Gua related. The hexagrams on the threshold, the elephant to "popular water, 涣" release of this hexagram. Winds at first, blowing a pool of spring water, know nothing, to know nothing. Although I do not know, the formation of the natural texture, but the best in the world.
Water, wind, 涣 However, together, ripples scattered, scattered in the text. Everything is inadvertently. The truth of this hexagram speaks of scattered, scattered and poly are relative, but there are poly scattered, scattered and scattered without exception, scattered outside and inside, on the surface inadvertently, but there is a big creation. The hexagrams of the hexagrams say: "涣 its group, Yuan Kyrgyzstan 涣 mound, incredible." Flood rushed to disperse the crowd. The impact of water, actually gathered into hills, really unimaginable, which means there is a poly in Ju. The "incredible" here places great emphasis on Chinese aesthetics. The real creation is not "thinking" but rather "encountering". The surpassing of art is in nature's "opportunity". Not in the minds of speculation, but in the natural cause and fit. Shi Tao calls this "only for a short period of time," and there is no preconceived notion of creating the subject.
Tang Zhang Huai "Book" said: "clouds scattered, touching the formation." This is the popular water beauty. Chen Shi said: "Good for the writer, because things are surprising. River trip, Shun only .To touch the mountain to the valley, wind stroke stimuli, and then make the best of the world." [3] Su Shi, "with the material Shaped "point of view, he said:" I like Wan Hutchison source, can not be out of the ground, surging in the plains, although thousands of miles without difficulty, and its twists and turns with the rocks, with the material shaped, but unknown also. Those who often act in what they do when they often act in the same way as they do when they do so, while others do not know it either. "[4] Non-human movement can be expected to reverse the material ①. Su Shi's congenial material, the income is in the "no camp" wonderful, is not "know" realm, only let it natural. Popular water, in fact, is to let the soul free "game" in the realm of "game." When talking about a monk painter named Xu Jing (conscience), Deng Chun at the Southern Song Dynasty said: "The founder of the Fallacy also puts poetry at his fingertips. , Self-written reasoner also. "[5] That is the reason.
Chinese aesthetics has a "not that" point of view, that is not to pursue, "unexpected", such as "natural" is not necessary. "Twenty-four poems and poems dilute," said: "Moment everywhere, the wonderful chance of .Drink too, solo crane in the fly. In the case of deep bandit, that is, the more hope .There is something like appearance, handshake has been violated. "Not deliberately seeking, the moment means that there is something for the destruction of the exquisite subtle deed I, will destroy the mild and elegant Intention. Give up the purpose, reason, the pursuit of desire, that is, to give up the "clever" pursuit. The poet in his heart to "encounter" - do not intend to seek each other, do not meet unexpectedly, rather than to "that is" - diligently pursue. Because a "is" to "hope", but not visible; one case that "deep", fit in between, the image of melting.
Chinese aesthetics has the concept of "unintended". The so-called "parked", that is, human activities, it is intentional, purpose, so not free. Dong Qichang said that the art of sublime, in "unintentional parked" see the outcome, emphasizing the subtle and exquisite Xing Hui. The painter of late Ming Dynasty, Xiangshan, is a successor to Ni Yunlin's style of painting. He said: "The wonderful Yunlin lies in a careless park." If you are determined to pursue it, then you lose Yunlin. If you seek Yunlin from the traces, End Yunlin Yun, Yun Lin wonderful, out of free-will. Yan Yu Southern Song Dynasty that the realm of the Tang poetry "can not park together," such as water in the moon, the shadow of the dream, the color of the mirror, the flower in the mirror, there is nothing to be said. The essence of Tang poetry is not "doing" out of "doing" out of the mind, but the "flow" out of the mind. Like Liu Shen Xu, "Road by Baiyun, Spring and Qingxi long. There are falling flowers, with flowing water," a poem, highlighting the leisure of human nature, life beyond, really not "done" out.
Ancient China has a kind of "heartless" aesthetics. Cloud unintentional to Xiu, birds tired to fly but also know. If you have no heart, you should not touch it. Careless planted flowers, inadvertently inserted Willow shade. Liu Zongyuan poem: "look back and forth under heaven and earth, rock on the cloudless mind one by one." He said is the state of mindless. Shitao had painted a meaningful "Sleeping Cattle Figure," he had a title in his posts: "I do not sleep cattle sleep, I do not sleep sleeping cakes. I do not know cattle tired, each other is unmotivated, do not sleep without dreaming. "No cattle read, I do not read, no read in thousands, do not sleep without sleep. I paint like a cow eating grass, running freely, do not give one thought, without restraint. This means no intention.
Badashan people have "Tianxin Gulls is" stamp. This is a famous story from ancient China. There is a story in Liezi: Once upon a time, there was a man who lived by the sea, like a gull, and went to the sea every morning to have fun with gull birds. Hundreds of gull birds fell beside him, not afraid at all. When his father knew, he said to his son, "Grab one for me and let me have fun." The next morning, the man went to the beach as usual, but the gull flew over his head and no longer fell . Because at this time, the person has the motive, the greed, the purpose, and the birds forget the machine. Badashan people to do a "heart" gull bird, free game with the world.
In Chinese art, "forgetting machine" becomes a kind of realm. Like the painter and poet Zhang Zhihe in the Tang Dynasty called "forgetting a bird," he wrote a song called "Snow on river, PuBian style, The "happy in the storm do not have cents," the realm is unmotivated. Su Shi said: "Who seems old, white forgotten machine." It is also highlighting a state of mindless. In Chinese philosophy, Taoism philosophy emphasizes the unfeeling, Lao Tzu's "heartless world, with all things for the dog. Sage is not benevolent people to the dog", the so-called "benevolence" is a kind of heartless state, that is, pure white territory. Zhuangzi "springs dry, the fish phase and in the land, phase 呴 to wet, profound feelings, as forget each other in the arena," the famous parable, the so-called "forgetting in rivers and lakes," that is, inadvertently in the realm of all things. In the doctrine of "three noes" in Zen Buddhism, the principle of "no recollections" and "no recitations" is "not memorizing", but the so-called one is pure and pure, and lotuses bloom everywhere.
Chinese aesthetics in the creation of the way the problem of raw and cooked, its magic is clever. Health and cooked is a pair of concepts, calligraphy and painting to be cooked by students, but also cooked to students. The beginning of life, because the technique is not familiar with, it needs basic skills training, but when the relative familiarity of artistic techniques, most likely to become a slave of skills, but also should return to life, this is the familiar life. Chinese art is hateful and mature. If you think it is cooked, you will be vulgar, sweet, and greasy. This art has flattering forms. Art is too familiar, it will be arrested by the law, everything seems to be set in the human heart, heaven is impossible. Zheng Banqiao has a poem: "Thirty years of painting bamboo branches, swaying during the night thinking. Dong Qichang said: "The painting has to be cooked." This view has been described by some as a longevity louse. Life outside, broken is tricky. Habitat, is the clueless situation. The Chinese artist said that when the spicy place is real, the spicy thing is to surpass the movement, to surpass the law, and to be lawless, it should be natural.
No camp, no parked, no intention, not that, spicy and so on the statement, the opposition is the movement, the emphasis is unwillingness, highlighting the unconscious experience, the objection is the purpose of seeking. Such thoughts are quite universal in Chinese aesthetics and are also quite characteristic theories of Chinese aesthetics.
（ｓｐｔｔ註）
First, Zhuo (Clumsy) is beyond the movement, to chance by chance.
Zhuo：拙、movement：機心（intention、意図）
Zhunagzi: Heaven and Earth" said that Zi Gong traveled southward to Chu, returned to Jin and passed Hanyin. He saw an old man pouring vegetables in a garden and holding a large urn to fill the well with more force and less efficacy. Zi Gong said: Why do not you use the waterwheel, waterwheel hard and efficient effect. The man said something meaningful: "There are mechanics must have the opportunity, the organic matter must have the confidence of the heart in the chest, the pure white unprepared; pure white unprepared, then unrestrained; I do not know, shameless but also. "
前に書いたが論文３）は荘子からの引用が多い。荘子は寓話が多い。荘子の寓話は最後に押し付け、お仕着の＜モラル＞がないのがいい。聞き手、読み手にまかせるのだ。この後半部はわかりにくい。
Zi Gong 人名＜子貢＞
Chu 国名＜楚國＞
Jin 国名＜晉國＞
There are mechanics must have the opportunity, the organic matter must have the confidence of the heart in the chest
organic matter は明らかに誤訳で原文は＜有機事者必有機心＞で有機（organic）はまったく関係ない。＜機事＞は opportunity（機会）というよりは＜図（はか）り事＞。中国版 Google 検索 Baidu-baike では＜機智巧妙＞という四字成語がある。したがって 有機事者は＜＜図り事ある者＞。＜機心＞はこれまでいくどもでてきたがintention （意図）の意。
the pure white unprepared（純白不備）は＜純白にして下心（したごころ）なし＞。
原文＜神生不定者，道之所不載也。＞が英訳ではこの部分が抜けている。Google翻訳はわからないところは意図的に怠（なま）けるのか。この箇所は原文も難しい。参考に＜中國哲學書電子化計劃＞をあたってみた。なぜか《莊子：天地》のこの話（寓話）の原文が違うのだ。論文３）の原文は《莊子：天地》の現代版のようだ。ただし、幸い最後の重要部分（下記下線部）は同じ。
子貢南遊於楚，反於晉，過漢陰，見一丈人方將為圃畦，鑿隧而入井，抱甕而出灌，搰搰然用力甚多而見功寡。子貢曰：「有械於此，一日浸百畦，用力甚寡而見功多，夫子不欲乎？」為圃者卬而視之曰：「奈何？」曰：「鑿木為機，後重前輕，挈水若抽，數如泆湯，其名為槔。」為圃者忿然作色而笑曰：「吾聞之吾師：『有機械者必有機事，有機事者必有機心。』機心存於胸中，則純白不備；純白不備，則神生不定；神生不定者，道之所不載也。吾非不知，羞而不為也。」子貢瞞然慙，俯而不對。（中國哲學書電子化計劃）
Zi-gong had been rambling in the south in Chu, and was returning to Jin. As he passed (a place) on the north of the Han, he saw an old man who was going to work on his vegetable garden. He had dug his channels, gone to the well, and was bringing from it in his arms a jar of water to pour into them. Toiling away, he expended a great deal of strength, but the result which he accomplished was very small. Zi-gong said to him, 'There is a contrivance here, by means of which a hundred plots of ground may be irrigated in one day. With the expenditure of a very little strength, the result accomplished is great. Would you, Master, not like (to try it)?' The gardener looked up at him, and said, 'How does it work?' Zi-gong said, 'It is a lever made of wood, heavy behind, and light in front. It raises the water as quickly as you could do with your hand, or as it bubbles over from a boiler. Its name is a shadoof.' The gardener put on an angry look, laughed, and said, 'I have heard from my teacher that, where there are ingenious contrivances, there are sure to be subtle doings; and that, where there are subtle doings, there is sure to be a scheming mind. But, when there is a scheming mind in the breast, its pure simplicity is impaired. When this pure simplicity is impaired, the spirit becomes unsettled, and the unsettled spirit is not the proper residence of the Dao. It is not that I do not know (the contrivance which you mention), but I should be ashamed to use it.' (At these words) Zi-gong looked blank and ashamed; he hung down his head, and made no reply. （中國哲學書電子化計劃、英訳。Google 翻訳ではない。）
これで大体意味が通じる。通じるが二千年以上も前にすでに機械文明批判があったことになる。
The core of the story is opposed to the movement, because the use of machinery, is a machine, is a machine, there will be a movement, with a movement, to undermine the soul" Pure white "- Pure and not complicated, bright and clear soul. Beyond the movement, is to restore a free and easy life.
ここも machine ＜機事（企て事）＞＜機智巧妙＞、 movement を＜機心（意図）＞と読まないと意味が通じない。
Movement is clever, but the pure white state is the clumsy. In Chinese aesthetics, movement means: (1) It is a purposeful activity. Movement, is what to expect. The purpose of seeking to restrict the choice of the soul, it is not a free state of creation. (2) It is a kind of knowledge activity, human reason, experience and so constitute the motivation of the root causes, thus forming the cover of the true nature of life. (3) It is an activity carried out in accordance with the law, movement means "law", statutory and clear heart does not exist.
この箇所はこのGoogle 翻訳で大体意味が通じる。また美術、美学の創造に関する重要なメッセージだ。
forming the cover は＜蓋（ふた）をしてしまう＞と読む。movement はしつこいようだが＜機心（意図）＞の意。statutory の原文は＜法定＞で＜定められた規律、方法、仕方＞。つまりは＜定められた規律、方法、仕方＞では＜澄明之心＞がない（不存）（ので美術、美学の創造が期待できない）ということを言っているのだ。
The aesthetically pleasing aesthetic concept emphasizes the transcendence of the movement: it opposes the pursuit of purpose, emphasizes the contingency; opposes the calculation of knowledge, emphasizes the transcendence of the moment, the fact that the participation of knowledge is inversely proportional to the aesthetic depth; Predecessating the existence of the order, emphasizing the law is not fixed, the aesthetic is not the realization of the preexistence of the law, but freedom, freedom, follow the creation of activities.
この箇所もこのGoogle 翻訳で大体意味が通じる。これまた美術、美学の創造に関する重要なメッセージだ。
Predecessating the existence of the order は原文が＜反對先行存在的秩序＞なので against (opposing) the preceding existence of the order でいいだろう。
Zhang Rong of the Southern Dynasties said: "I do not hate the rule of no one, and I hate the rule of no courtiers." Tang Li Beihai said: "I am vulgar and learn to die." Shi Tao said: That is breaking the law enforcement. For art, can not do with the wave of people.
この箇所は短いが難解というか、引用文の背景知識（background knowledge）がないとダメだ。
Zhang Rong of the Southern Dynasties said: "I do not hate the rule of no one, and I hate the rule of no courtiers."
原文： 南朝張融說：“不恨臣無二王法，恨二王無臣法”；
英文も原文もこれでは何をいっているのかわからない。
“不恨臣無二王法，恨二王無臣法”の背景知識
此语典出《南史•张融传》：“融善草书，常自美其能。帝曰：卿书殊有骨力， 但恨无二王法。
答曰：非恨臣无二王法，亦恨二王无臣法。”大意是说张融擅长草书，常沾沾自喜，自负其能。
齐高帝萧道成对他说：“你的书法很有骨力，可惜没有二王（东晋王羲之、王献之父子）之气度。
”他答道：“我倒不遗憾我的字没有二王 的气度，反倒遗憾二王没有我张融的风骨气韵。
つまりは＜まねはよくない。独自性、創造性が必用＞ということ。
Tang Li Beihai said: "I am vulgar and learn to die."
これもこれでは何のことだかわからない。
原文：唐李北海說：“似我者俗，學我者死”；
背景知識
https://kknews.cc/zh-hk/culture/46xal8x.html
董其昌對唐朝李邕有句著名的評價——右軍如龍，北海如象。這是董其昌推崇王羲之、李邕二人，說他們就像是書法中最有成就的「龍象」，是最能得書道真諦的大家。
李邕是何許人也？董其昌怎麼會給他如此高的評價？
李邕，字泰和，廣陵江都（今江蘇揚州）人。儀鳳三年（678年）生，天寶六年（747年）卒，唐代著名行楷大家。祖籍江夏(今湖北武昌)，自稱「江夏李邕」。開元中為官北海郡太守，世稱「李北海」。
大凡古代書家多徇家學淵源。李家世代書宦，與王謝庾郗衛門閥豪右交密，結姻親於衛氏，東晉書家衛鑠，即為李氏先母，受其教化，傳承自然備受重視。李邕書取法二王法帖，尤其《聖教序》臨習透徹，摩挲至深，幾近乎神肖。李邕師學如此，關鍵在於自悟造化，還能不為二王書風所縛，能入乎其內而出乎其外，撮取儒雅秀美的羲獻書風，結合樸厚峻拔北碑筆意，兼兩者之優長，並熔為一爐，最終形成個人獨特面貌，這便是李邕書法高妙之處。
李思訓碑局部
李邕反對因襲舊習，提倡創新，對於後學有「似我者俗，學我者死」箴言忠告。
これまた＜まねはよくない＞ということ。
Shi Tao said: That is breaking the law enforcement. For art, can not do with the wave of people.
石濤說：“法無定，定無法”，即在破法執。為藝者，不能做隨波逐浪人。
さて “法無定，定無法” の意味だが、明らかに That is breaking the law enforcement. ではない。
わたしは石濤に特に興味があるので、これはいろいろ調べてみたが、この論文の作者は別の論文で次のように言っている。つまりは“法無定，定無法”とあるので石濤がどこからか引用しているのだ。
朱良志:如何理解黄公望“渾”的画境 http://www.cssn.cn/zhx/zx_mx/201703/t20170331_3473826_2.shtml
前人評黃公望「如老將用兵，不立隊伍，而頤指氣使，無不如意」(28)。「不立隊伍」一句，真說出了黃公望畫的形式特點。他的畫，出入於有序與無序之間。重格法是他的立畫之基，但又有超越格法、絕不死於章句之下的一面。他晚年有《仿古二十冊》，自題說：「晉唐兩宋名人遺筆，雖有巨細精粗之不同，而妙思精心，各成極致，余見之不忍釋手。迨忘寢食，間有臨摹必再始已，此學問之吃緊也。……非景物不足以發胸襟，非遺筆不足以成規範，是二者，未始不相須也。」沒有景物不能成為山水畫，但自然丘壑又必經胸中盤郁而出，繪畫不能斤斤物象；沒有古法便無筆墨之資、規範之據，但有規範又要 「遺」規範，故能成其規範。這正是禪家所謂「法無定，定無法」、「我說法，即非法，是為法」的要義。這就像黃公望認為繪畫必佐之以「學問」(董其 昌的「讀萬卷書，行萬里路」其實就來自子久(29))，但據此就認為他「以學問為畫」、重視寫生，那就是誤解了。明汪砢玉說：「水紋風皺，花影月翻，此不染畫事也。觀大痴畫不當於筆墨中求之。」(30)說得很有道理。
格法：成法，法度。＜重格法＞＜成法，法度をコピーする、＞の意か。
繪畫不能斤斤物象
斤斤
ここは（２）の意。
「遺」規範
したがって＜沒有古法便無筆墨之資、規範之據，但有規範又要 「遺」規範，故能成其規範。＞の部分は
古い方法（きまり、手本など）がないと水墨画は描けない。規範に基づくのだ。だが、規範はあってもこれを捨て去ることにより、別の（新たな）規範（方法）を作ることができる。
という意味なのだ。 そして “法無定，定無法” はこのような意味だ、と言っているようだ。
この部分のGoogle翻訳
Former predecessors Huang Gongwang "such as the veteran troops, do not stand on the team, and heresy, all wishful". "Do not stand the team," a sentence, really say the form of Huang Gong painting features. His paintings, out of order and disorder. Gravity method is the base of his painting, but there is beyond the lattice method, will never die under the chapter. In his later years there are "antique 20 volumes", since the title said: "Jin and Tang Dynasties celebrities posthumously, although the size of the different essence, and thoughtful meticulous, into the extreme, I can not wait to release. , There must be a copy of the beginning of this, the learning is also tight ... ... Non-landscapes are not enough to open their minds, non-legacy is not enough to be norms, both are not the same. "No landscape can not be a landscape painting, but The natural hills and valleys must pass through the chest disk Yu Yu out, the painting can not be preoccupied with the image; there is no ancient law without pen and ink, normative data, but there are norms to "legacy" norms, it can become its norms. This is exactly what Zen Buddhism refers to as "law is indefinable and can not be determined" and "what I say is illegal is the essence of law." It is just like Huang Gongwang's view that painting will be accompanied by "learning"
例によって支離滅裂の訳文だが、昔の画家黃公望について論じているので致し方ないか。“法無定，定無法” は "law is indefinable and can not be determined" の意ではない。結局のところ “法無定，定無法” の意味は＜規範というのは定まりなく、定まれば規範ではなくなる＞といった禅問答的な意味か。あるいはもっとソフトに＜絵画（書道、芸術一般）に規範（手本）はあってもいいが杓子定規に従うことはない＞と言ったところか。禅問答を英訳するのは至難の業（わざ）だ。
＜為藝者，不能做隨波逐浪人＞の＜隨波逐浪＞は四字成語でいくつかの違った意味が発生しているようだが、ここは＜波、流れに飲まれる＞で主体性がないこと。したがって、ここでも＜独自性、創造性が必用＞といっている。
話は少しそれるがこの論文作者：朱良志には石濤について書いた論文がある。石濤は芸術における創造性について考察し書いている。
朱良志｜“一画”新诠
https://m.sohu.com/n/480931688/
朱良志谈石涛研究：被误解与被重新发现的石涛
http://cul.qq.com/a/20171104/006285.htm
＜朱良志｜“一画”新诠＞から
【赏析】
石涛的一画说主要是在禅宗影响下形成的一个重要概念。一画不是道，不是线，而是法。一切具体的法则是有为法，而 一画是无为法，是最高的法，至法无法，无法即法本身。石涛强调这一无为之法，意在使画家解除一切来自于传统、概念、物欲、笔墨技法等束缚，进入到一片创作的自由境界中。所以，一画的核心是要掘发人的创造力，这一创造力是人的自性的显现，而如何使这一创造灵明自在兴现，惟有通过妙悟的认识途径才能达到。石涛的一画说，不是一个关于画法的理论，而是一种侧重于建立自性本体的理论，这一自性本体可以称为创造本体。一画可以说 是一种体物方式，一种创作原则，一种创作心境，甚至可以说是一种人生境界。它比较全面地反映了石涛在画学方面的整体看法，所以他说：“吾道一以贯之”。在中国画学史上，虽然也有一画、一笔画等类似的概念，但和石涛的一画说的内涵是完全不同的。一画说是石涛独创的画学概念，如果说石涛有画学理论体系，这个体系的中心概念就是一画。
“一画”，是研究石涛画学思想无法回避的概念，学界对此有深入的研究，已经取得一些令人瞩目的成果，但至今它仍 然是一个疑窦丛生的研究对象。以下是笔者的研究心得，提出以求教于同道。
一、石涛所谓“一画”，乃是画之一，是绘画创作的最高法则。
石涛所谓“一画”，实际是“无画”。与其说石涛要建立一种绘画体系，倒不如说他要解构长期人们所奉行的艺术观念。石涛的论证方式不是表诠，而是遮诠，它用否定的方式来说明自己的道理。他树立的“一画之洪规”，是一个不为任何先行法则所羁束的艺术创作 原则。在他看来，世人说的是“经”，他说的是“权”；世人说的是“有”，他说的是“无”；世人说的是“万”，他说的是“一”。他的“一”，不是数量上的“一”，不是一笔一画，而就是无。在他看来，无心处就是有心，无画处就是有画，无法处就是至法。他要通过对先行法则的解构，建立一 种无所羁束、从容自由、即悟即真的绘画大法。
从石涛的画学观点看，“一画”是无分别，无对待的，是“不二之法”，这是“一画”说最重要的特点。它不是一套可 以操作的绘画创作的具体法度，那是一般的法则，他要说的是绝对的，不二的根本之法。依佛教的术语，可以说，他的一画不是有为法，而是无为法， 是无法之法、不二之法。没有时间的分际，并不是先有了这个“一”，再有二，以至万有。所以，石涛在《画语录》中虽然说“太古无法，太朴不散， 太朴一散，而法立矣，法于何立，立于一画”，但这并不等于说，它是一个时间的展开过程，不是由太朴分出一画，由一画分出万有。同时，一画也不是在空间中延展的序列，如由一点一画推延开去。禅宗的古德云：“两头共截断，一剑倚天寒。” 彻天彻地，彻古彻今，一切束缚，尽皆除去，只剩下一把锋利的剑矗立在天地之间，放出凛凛的寒光。这一剑无分别，无对待，两头绝断，两头是二，二就是分别， 是对待，是差异，是杂多。此意为石涛建立他的“一画”说的基本原则。石涛在《画语录》中说：“自一治万，自万治一”；“自一以分万，自万以治 一”的论断，这个“一”，就是他的“一画”。“一画”的“一”不能以量上观，由一到万，不是体量上的扩大。“一”就是无。如同慧能所说：“心量广大，遍周法界，用却了了分明，应用便知一切，一切即一，一即一切”[1]；慧能弟子永嘉玄觉所说：“一性圆通一切性，一法篇含一切法，一月普现一切月，一切水月一月摄”[2]。
ここに＜至法无法，无法即法本身。＞、＜他的一画不是有为法，而是无为法， 是无法之法、不二之法＞というのがある。すこしわかりやすいが、これまた禅問答のようだ。“两头共截断，一剑倚天寒。” も禅師の言葉で分かりずらいが
日本一位將軍在出征之前去問來自中國的明極楚俊禪師：「在生死交關的時候該如何？」禪師說：「兩頭俱截斷，一劍倚天寒。」他的意思是不是說，把生死對立的觀念放下之後，本來面目自然就出現了呢？
「兩頭俱截斷，一劍倚天寒」，把「生」一劍斬掉，把「死」也一劍斬斷，中間什麼也沒有了，只剩斬掉生死的那把劍。這把劍像虛空一般廣大無邊，也可以說全虛空就是一把劍，生與死根本沒有機會存在。一遇到這把劍，對死亡的觀念、憂慮、恐懼不見了，對生的欲求、貪念、執著也沒有了；生也斬掉，死也斬掉，這就是大智慧、大決心、大信心。
という解説がある。後半の＜一劍倚天寒＞の説明がないが＜只剩下一把锋利的剑矗立在天地之间，放出凛凛的寒光。＞のような意味であれば、禅師の言葉というよりは詩人の言葉だ。脇道にそれたが＜大巧若拙＞の美学について参考になる。石涛は大画家（Great Master）だ。さらに脇道にそれるので、ここでは大画家石涛も＜絵画では独立性。独自性、創造性が肝心＞と言っているにとどめておいて次に進む。
Chinese aesthetics emphasizes that aesthetic activity is a kind of activity that does not mean to seek each other's ideas and meets one another unexpectedly. The aesthetic beyond lies in the "table of tacit imagination", but it can be met instead of seeking. Demanding, is the purpose of the activity. In case, it is a chance of chance. Incidentality is actually a manifestation of the original motivation of life. In fortuitous encounters, remove all obscuration, abandon the external rational efforts, and make life itself clear. This contingency state, is a clumsy - a kind of unconcious mind state.
table はテーブルやリストの意ではなく、＜表明＞の意の＜表＞だろう。
ここでは＜独立性。独自性、創造性＞以外に＜偶然性（Incidentality）＞の重要性をのべている。そして最後に This contingency state, is a clumsy - a kind of unconcious (unconscious) mind state. （這偶然性狀態，就是拙——一種毫無牽繫的心靈狀態。）と言っている。、
偶然性、すなわち＜拙＞、は一種のまったく束縛されていない心理状態。 言い換えると＜自由な心＞が美（美学上創造的な美）を生み出す、ということだ。 詳しいプロセスは別として＜拙＞が＜美＞の制作と結びつくことになる。
contingency:
（インターネッと辞書）
future event or circumstance which is possible but cannot be predicted with certainty.
a provision for a possible event or circumstance.
synonyms: eventuality, (chance) event, incident, happening, occurrence, juncture, possibility, accident, chance, emergency; More
次に進む。
Chinese aesthetics formed a series of related aesthetic problems.
Chinese aesthetics advocates "no camp" - a kind of unconscious creation without psychic camp. Dong Qichang said: "The ancients' airiness is the essence of the book, and the essence is at random, as a result of self-actuality.
"no camp" 原文は “無營” で“營” を camp とすると＜宿なし＞になってしまう。これでもまったくの間違いではないが、あとの説明にあるようにここは＜経営＞の “營” で、企業人が経営するから、＜企（くわだ）て＞が適当。book は書でここは書法（書道）のことで英語はcaligraphy だ。原文の董其昌の引用部は“古人神氣，淋漓翰墨間，妙處在隨意所如，自成體勢。故為書者，字如算子，便不是書，謂說定法也。”で、対応する英文 "The ancients' airiness is the essence of the book, and the essence is at random, as a result of self-actuality. は短すぎる。抜けている＜故為書者，字如算子，便不是書，謂說定法也。＞は続く解説ですこし出てくるが、＜書をなす者、企てをもって字を書けばそれは書にあらず。いわばお仕着せの書なり。＞と言ったところ。
[1] The so-called "operator" is a good plan beforehand. This is a deliberate operation and a deliberate operation. Therefore, it is not natural. The metaphor of Feng Shui in the Northern Song Dynasty was well known in the history of aesthetics. He said: "There is no camp in the world and the students, but water and wind only."
北宋蘇洵の人名＜蘇洵＞がぬけている。He said "xxxx" は蘇洵の言葉なのだ。 引用部の原文は“天下之無營而文生者，惟水與風而已。”で＜企てなきて文は生まれる。ただ水と風あるなり＞といったところか。
[2] Popular on the water, naturally written, is "no camp", because there is no mechanical presence, aesthetic transcendence depends on the occasion of chance. Popular metaphor on water, and the "Book of Changes" Gua Gua related. The hexagrams on the threshold, the elephant to "popular water, 涣" release of this hexagram. Winds at first, blowing a pool of spring water, know nothing, to know nothing. Although I do not know, the formation of the natural texture, but the best in the world.
Water, wind, 涣 However, together, ripples scattered, scattered in the text. Everything is inadvertently. The truth of this hexagram speaks of scattered, scattered and poly are relative, but there are poly scattered, scattered and scattered without exception, scattered outside and inside, on the surface inadvertently, but there is a big creation. The hexagrams of the hexagrams say: "涣 its group, Yuan Kyrgyzstan 涣 mound, incredible." Flood rushed to disperse the crowd. The impact of water, actually gathered into hills, really unimaginable, which means there is a poly in Ju. The "incredible" here places great emphasis on Chinese aesthetics. The real creation is not "thinking" but rather "encountering". The surpassing of art is in nature's "opportunity". Not in the minds of speculation, but in the natural cause and fit. Shi Tao calls this "only for a short period of time," and there is no preconceived notion of creating the subject.
Popular は＜風行＞の訳だが、 Popular on the water、Popular metaphor on water では何のことだかわからない。＜風行水上＞は四字成語。
成語詞典/風行水上 （https://tw.18dao.net/%E6%88%90%E8%AA%9E%E8%A9%9E%E5%85%B8/%E9%A2%A8%E8%A1%8C%E6%B0%B4%E4%B8%8A）
【拼音】：fēng xíng shuǐ shàng
【釋義】：比喻自然流暢，不矯揉造作。
【出處】：《周易·渙》：“象曰：風行水上，渙。”
という解説がある。
"Book of Changes" は《周易》または＜易書＞。＜易書＞の内容はGoogle翻訳ではお手上げだろう。したがって、この箇所の英文はチンプンカンプンだ。Gua Guaの原文＜渙卦＞。＜卦＞は＜当たるも八卦、当たらぬも八卦＞の＜卦＞だ。
wiki-中国版（https://zh.wikipedia.org/wiki/%E5%85%AB%E5%8D%A6）
によると
八卦包括：
＜涣卦＞は Baike/Baidu https://baike.baidu.com/item/%E6%B6%A3%E5%8D%A6 ）によると
涣卦是易经六十四卦第59卦。涣是2：3卦的卦名，代号是2：3。“涣”（huàn），散开：涣散。2：3卦的主卦是2卦坎卦，卦象是水，特性是危险和困难；客卦是3卦巽卦，卦象是风，特性是顺从。水流到那里都没有阻挡，客方顺从主方，让水到处流，从而，水到处泛滥。风水涣（涣卦）拯救涣散。这个卦是异卦（下坎上巽）相叠。风在水上行，推波助澜，四方流溢。涣，水流流散之意。象征组织和人心涣散，必用积极的手段和方法克服，战胜弊端，挽救涣散，转危为安。左图中，红色表示当位的爻，天蓝色表示不当位的爻，箭头表示有应。
First, Zhuo (Clumsy) is beyond the movement, to chance by chance.
" Zhunagzi: Heaven and Earth" said that Zi Gong traveled southward to Chu, returned
to Jin and passed Hanyin. He saw an old man pouring vegetables in a
garden and holding a large urn to fill the well with more force and less
efficacy. Zi Gong said: Why do not you use the waterwheel, waterwheel hard and efficient effect.
The man said something meaningful: "There are mechanics must have the
opportunity, the organic matter must have the confidence of the heart in
the chest, the pure white unprepared; pure white unprepared, then
unrestrained; I do not know, shameless but also. "The core of the story
is opposed to the movement, because the use of machinery, is a machine,
is a machine, there will be a movement, with a movement, to undermine
the soul" Pure white "- Pure and not complicated, bright and clear soul. Beyond the movement, is to restore a free and easy life. Movement is clever, but the pure white state is the clumsy. In Chinese aesthetics, movement means: (1) It is a purposeful activity. Movement, is what to expect. The purpose of seeking to restrict the choice of the soul, it is not a free state of creation. (2) It is a kind of knowledge activity, human reason, experience and so constitute the motivation of the root causes, thus forming the cover of the true nature of life. (3) It is an activity carried out in accordance with the law, movement means "law", statutory and clear heart does not exist.
The aesthetically pleasing aesthetic concept emphasizes the transcendence of the movement: it opposes the pursuit of purpose, emphasizes the contingency; opposes the calculation of knowledge, emphasizes the transcendence of the moment, the fact that the participation of knowledge is inversely proportional to the aesthetic depth; Predecessating the existence of the order, emphasizing the law is not fixed, the aesthetic is not the realization of the preexistence of the law, but freedom, freedom, follow the creation of activities. Zhang Rong of the Southern Dynasties said: "I do not hate the rule of no one, and I hate the rule of no courtiers." Tang Li Beihai said: "I am vulgar and learn to die." Shi Tao said: That is breaking the law enforcement. For art, can not do with the wave of people.
Chinese aesthetics emphasizes that aesthetic activity is a kind of activity that does not mean to seek each other's ideas and meets one another unexpectedly. The aesthetic beyond lies in the "table of tacit imagination", but it can be met instead of seeking. Demanding, is the purpose of the activity. In case, it is a chance of chance. Incidentality is actually a manifestation of the original motivation of life. In fortuitous encounters, remove all obscuration, abandon the external rational efforts, and make life itself clear. This contingency state, is a clumsy - a kind of unconcious mind state.
Chinese aesthetics formed a series of related aesthetic problems.
Chinese aesthetics advocates "no camp" - a kind of unconscious creation without psychic camp. Dong Qichang said: "The ancients' airiness is the essence of the book, and the essence is at random, as a result of self-actuality.
[1] The so-called "operator" is a good plan beforehand. This is a deliberate operation and a deliberate operation. Therefore, it is not natural. The metaphor of Feng Shui in the Northern Song Dynasty was well known in the history of aesthetics. He said: "There is no camp in the world and the students, but water and wind only."
[2] Popular on the water, naturally written, is "no camp", because there is no mechanical presence, aesthetic transcendence depends on the occasion of chance. Popular metaphor on water, and the "Book of Changes" Gua Gua related. The hexagrams on the threshold, the elephant to "popular water, 涣" release of this hexagram. Winds at first, blowing a pool of spring water, know nothing, to know nothing. Although I do not know, the formation of the natural texture, but the best in the world.
Water, wind, 涣 However, together, ripples scattered, scattered in the text. Everything is inadvertently. The truth of this hexagram speaks of scattered, scattered and poly are relative, but there are poly scattered, scattered and scattered without exception, scattered outside and inside, on the surface inadvertently, but there is a big creation. The hexagrams of the hexagrams say: "涣 its group, Yuan Kyrgyzstan 涣 mound, incredible." Flood rushed to disperse the crowd. The impact of water, actually gathered into hills, really unimaginable, which means there is a poly in Ju. The "incredible" here places great emphasis on Chinese aesthetics. The real creation is not "thinking" but rather "encountering". The surpassing of art is in nature's "opportunity". Not in the minds of speculation, but in the natural cause and fit. Shi Tao calls this "only for a short period of time," and there is no preconceived notion of creating the subject.
Tang Zhang Huai "Book" said: "clouds scattered, touching the formation." This is the popular water beauty. Chen Shi said: "Good for the writer, because things are surprising. River trip, Shun only .To touch the mountain to the valley, wind stroke stimuli, and then make the best of the world." [3] Su Shi, "with the material Shaped "point of view, he said:" I like Wan Hutchison source, can not be out of the ground, surging in the plains, although thousands of miles without difficulty, and its twists and turns with the rocks, with the material shaped, but unknown also. Those who often act in what they do when they often act in the same way as they do when they do so, while others do not know it either. "[4] Non-human movement can be expected to reverse the material ①. Su Shi's congenial material, the income is in the "no camp" wonderful, is not "know" realm, only let it natural. Popular water, in fact, is to let the soul free "game" in the realm of "game." When talking about a monk painter named Xu Jing (conscience), Deng Chun at the Southern Song Dynasty said: "The founder of the Fallacy also puts poetry at his fingertips. , Self-written reasoner also. "[5] That is the reason.
Chinese aesthetics has a "not that" point of view, that is not to pursue, "unexpected", such as "natural" is not necessary. "Twenty-four poems and poems dilute," said: "Moment everywhere, the wonderful chance of .Drink too, solo crane in the fly. In the case of deep bandit, that is, the more hope .There is something like appearance, handshake has been violated. "Not deliberately seeking, the moment means that there is something for the destruction of the exquisite subtle deed I, will destroy the mild and elegant Intention. Give up the purpose, reason, the pursuit of desire, that is, to give up the "clever" pursuit. The poet in his heart to "encounter" - do not intend to seek each other, do not meet unexpectedly, rather than to "that is" - diligently pursue. Because a "is" to "hope", but not visible; one case that "deep", fit in between, the image of melting.
Chinese aesthetics has the concept of "unintended". The so-called "parked", that is, human activities, it is intentional, purpose, so not free. Dong Qichang said that the art of sublime, in "unintentional parked" see the outcome, emphasizing the subtle and exquisite Xing Hui. The painter of late Ming Dynasty, Xiangshan, is a successor to Ni Yunlin's style of painting. He said: "The wonderful Yunlin lies in a careless park." If you are determined to pursue it, then you lose Yunlin. If you seek Yunlin from the traces, End Yunlin Yun, Yun Lin wonderful, out of free-will. Yan Yu Southern Song Dynasty that the realm of the Tang poetry "can not park together," such as water in the moon, the shadow of the dream, the color of the mirror, the flower in the mirror, there is nothing to be said. The essence of Tang poetry is not "doing" out of "doing" out of the mind, but the "flow" out of the mind. Like Liu Shen Xu, "Road by Baiyun, Spring and Qingxi long. There are falling flowers, with flowing water," a poem, highlighting the leisure of human nature, life beyond, really not "done" out.
Ancient China has a kind of "heartless" aesthetics. Cloud unintentional to Xiu, birds tired to fly but also know. If you have no heart, you should not touch it. Careless planted flowers, inadvertently inserted Willow shade. Liu Zongyuan poem: "look back and forth under heaven and earth, rock on the cloudless mind one by one." He said is the state of mindless. Shitao had painted a meaningful "Sleeping Cattle Figure," he had a title in his posts: "I do not sleep cattle sleep, I do not sleep sleeping cakes. I do not know cattle tired, each other is unmotivated, do not sleep without dreaming. "No cattle read, I do not read, no read in thousands, do not sleep without sleep. I paint like a cow eating grass, running freely, do not give one thought, without restraint. This means no intention.
Badashan people have "Tianxin Gulls is" stamp. This is a famous story from ancient China. There is a story in Liezi: Once upon a time, there was a man who lived by the sea, like a gull, and went to the sea every morning to have fun with gull birds. Hundreds of gull birds fell beside him, not afraid at all. When his father knew, he said to his son, "Grab one for me and let me have fun." The next morning, the man went to the beach as usual, but the gull flew over his head and no longer fell . Because at this time, the person has the motive, the greed, the purpose, and the birds forget the machine. Badashan people to do a "heart" gull bird, free game with the world.
In Chinese art, "forgetting machine" becomes a kind of realm. Like the painter and poet Zhang Zhihe in the Tang Dynasty called "forgetting a bird," he wrote a song called "Snow on river, PuBian style, The "happy in the storm do not have cents," the realm is unmotivated. Su Shi said: "Who seems old, white forgotten machine." It is also highlighting a state of mindless. In Chinese philosophy, Taoism philosophy emphasizes the unfeeling, Lao Tzu's "heartless world, with all things for the dog. Sage is not benevolent people to the dog", the so-called "benevolence" is a kind of heartless state, that is, pure white territory. Zhuangzi "springs dry, the fish phase and in the land, phase 呴 to wet, profound feelings, as forget each other in the arena," the famous parable, the so-called "forgetting in rivers and lakes," that is, inadvertently in the realm of all things. In the doctrine of "three noes" in Zen Buddhism, the principle of "no recollections" and "no recitations" is "not memorizing", but the so-called one is pure and pure, and lotuses bloom everywhere.
Chinese aesthetics in the creation of the way the problem of raw and cooked, its magic is clever. Health and cooked is a pair of concepts, calligraphy and painting to be cooked by students, but also cooked to students. The beginning of life, because the technique is not familiar with, it needs basic skills training, but when the relative familiarity of artistic techniques, most likely to become a slave of skills, but also should return to life, this is the familiar life. Chinese art is hateful and mature. If you think it is cooked, you will be vulgar, sweet, and greasy. This art has flattering forms. Art is too familiar, it will be arrested by the law, everything seems to be set in the human heart, heaven is impossible. Zheng Banqiao has a poem: "Thirty years of painting bamboo branches, swaying during the night thinking. Dong Qichang said: "The painting has to be cooked." This view has been described by some as a longevity louse. Life outside, broken is tricky. Habitat, is the clueless situation. The Chinese artist said that when the spicy place is real, the spicy thing is to surpass the movement, to surpass the law, and to be lawless, it should be natural.
No camp, no parked, no intention, not that, spicy and so on the statement, the opposition is the movement, the emphasis is unwillingness, highlighting the unconscious experience, the objection is the purpose of seeking. Such thoughts are quite universal in Chinese aesthetics and are also quite characteristic theories of Chinese aesthetics.
（ｓｐｔｔ註）
First, Zhuo (Clumsy) is beyond the movement, to chance by chance.
Zhuo：拙、movement：機心（intention、意図）
Zhunagzi: Heaven and Earth" said that Zi Gong traveled southward to Chu, returned to Jin and passed Hanyin. He saw an old man pouring vegetables in a garden and holding a large urn to fill the well with more force and less efficacy. Zi Gong said: Why do not you use the waterwheel, waterwheel hard and efficient effect. The man said something meaningful: "There are mechanics must have the opportunity, the organic matter must have the confidence of the heart in the chest, the pure white unprepared; pure white unprepared, then unrestrained; I do not know, shameless but also. "
前に書いたが論文３）は荘子からの引用が多い。荘子は寓話が多い。荘子の寓話は最後に押し付け、お仕着の＜モラル＞がないのがいい。聞き手、読み手にまかせるのだ。この後半部はわかりにくい。
Zi Gong 人名＜子貢＞
Chu 国名＜楚國＞
Jin 国名＜晉國＞
There are mechanics must have the opportunity, the organic matter must have the confidence of the heart in the chest
organic matter は明らかに誤訳で原文は＜有機事者必有機心＞で有機（organic）はまったく関係ない。＜機事＞は opportunity（機会）というよりは＜図（はか）り事＞。中国版 Google 検索 Baidu-baike では＜機智巧妙＞という四字成語がある。したがって 有機事者は＜＜図り事ある者＞。＜機心＞はこれまでいくどもでてきたがintention （意図）の意。
the pure white unprepared（純白不備）は＜純白にして下心（したごころ）なし＞。
原文＜神生不定者，道之所不載也。＞が英訳ではこの部分が抜けている。Google翻訳はわからないところは意図的に怠（なま）けるのか。この箇所は原文も難しい。参考に＜中國哲學書電子化計劃＞をあたってみた。なぜか《莊子：天地》のこの話（寓話）の原文が違うのだ。論文３）の原文は《莊子：天地》の現代版のようだ。ただし、幸い最後の重要部分（下記下線部）は同じ。
子貢南遊於楚，反於晉，過漢陰，見一丈人方將為圃畦，鑿隧而入井，抱甕而出灌，搰搰然用力甚多而見功寡。子貢曰：「有械於此，一日浸百畦，用力甚寡而見功多，夫子不欲乎？」為圃者卬而視之曰：「奈何？」曰：「鑿木為機，後重前輕，挈水若抽，數如泆湯，其名為槔。」為圃者忿然作色而笑曰：「吾聞之吾師：『有機械者必有機事，有機事者必有機心。』機心存於胸中，則純白不備；純白不備，則神生不定；神生不定者，道之所不載也。吾非不知，羞而不為也。」子貢瞞然慙，俯而不對。（中國哲學書電子化計劃）
Zi-gong had been rambling in the south in Chu, and was returning to Jin. As he passed (a place) on the north of the Han, he saw an old man who was going to work on his vegetable garden. He had dug his channels, gone to the well, and was bringing from it in his arms a jar of water to pour into them. Toiling away, he expended a great deal of strength, but the result which he accomplished was very small. Zi-gong said to him, 'There is a contrivance here, by means of which a hundred plots of ground may be irrigated in one day. With the expenditure of a very little strength, the result accomplished is great. Would you, Master, not like (to try it)?' The gardener looked up at him, and said, 'How does it work?' Zi-gong said, 'It is a lever made of wood, heavy behind, and light in front. It raises the water as quickly as you could do with your hand, or as it bubbles over from a boiler. Its name is a shadoof.' The gardener put on an angry look, laughed, and said, 'I have heard from my teacher that, where there are ingenious contrivances, there are sure to be subtle doings; and that, where there are subtle doings, there is sure to be a scheming mind. But, when there is a scheming mind in the breast, its pure simplicity is impaired. When this pure simplicity is impaired, the spirit becomes unsettled, and the unsettled spirit is not the proper residence of the Dao. It is not that I do not know (the contrivance which you mention), but I should be ashamed to use it.' (At these words) Zi-gong looked blank and ashamed; he hung down his head, and made no reply. （中國哲學書電子化計劃、英訳。Google 翻訳ではない。）
これで大体意味が通じる。通じるが二千年以上も前にすでに機械文明批判があったことになる。
The core of the story is opposed to the movement, because the use of machinery, is a machine, is a machine, there will be a movement, with a movement, to undermine the soul" Pure white "- Pure and not complicated, bright and clear soul. Beyond the movement, is to restore a free and easy life.
ここも machine ＜機事（企て事）＞＜機智巧妙＞、 movement を＜機心（意図）＞と読まないと意味が通じない。
Movement is clever, but the pure white state is the clumsy. In Chinese aesthetics, movement means: (1) It is a purposeful activity. Movement, is what to expect. The purpose of seeking to restrict the choice of the soul, it is not a free state of creation. (2) It is a kind of knowledge activity, human reason, experience and so constitute the motivation of the root causes, thus forming the cover of the true nature of life. (3) It is an activity carried out in accordance with the law, movement means "law", statutory and clear heart does not exist.
この箇所はこのGoogle 翻訳で大体意味が通じる。また美術、美学の創造に関する重要なメッセージだ。
forming the cover は＜蓋（ふた）をしてしまう＞と読む。movement はしつこいようだが＜機心（意図）＞の意。statutory の原文は＜法定＞で＜定められた規律、方法、仕方＞。つまりは＜定められた規律、方法、仕方＞では＜澄明之心＞がない（不存）（ので美術、美学の創造が期待できない）ということを言っているのだ。
The aesthetically pleasing aesthetic concept emphasizes the transcendence of the movement: it opposes the pursuit of purpose, emphasizes the contingency; opposes the calculation of knowledge, emphasizes the transcendence of the moment, the fact that the participation of knowledge is inversely proportional to the aesthetic depth; Predecessating the existence of the order, emphasizing the law is not fixed, the aesthetic is not the realization of the preexistence of the law, but freedom, freedom, follow the creation of activities.
この箇所もこのGoogle 翻訳で大体意味が通じる。これまた美術、美学の創造に関する重要なメッセージだ。
Predecessating the existence of the order は原文が＜反對先行存在的秩序＞なので against (opposing) the preceding existence of the order でいいだろう。
Zhang Rong of the Southern Dynasties said: "I do not hate the rule of no one, and I hate the rule of no courtiers." Tang Li Beihai said: "I am vulgar and learn to die." Shi Tao said: That is breaking the law enforcement. For art, can not do with the wave of people.
この箇所は短いが難解というか、引用文の背景知識（background knowledge）がないとダメだ。
Zhang Rong of the Southern Dynasties said: "I do not hate the rule of no one, and I hate the rule of no courtiers."
原文： 南朝張融說：“不恨臣無二王法，恨二王無臣法”；
英文も原文もこれでは何をいっているのかわからない。
“不恨臣無二王法，恨二王無臣法”の背景知識
此语典出《南史•张融传》：“融善草书，常自美其能。帝曰：卿书殊有骨力， 但恨无二王法。
答曰：非恨臣无二王法，亦恨二王无臣法。”大意是说张融擅长草书，常沾沾自喜，自负其能。
齐高帝萧道成对他说：“你的书法很有骨力，可惜没有二王（东晋王羲之、王献之父子）之气度。
”他答道：“我倒不遗憾我的字没有二王 的气度，反倒遗憾二王没有我张融的风骨气韵。
つまりは＜まねはよくない。独自性、創造性が必用＞ということ。
Tang Li Beihai said: "I am vulgar and learn to die."
これもこれでは何のことだかわからない。
原文：唐李北海說：“似我者俗，學我者死”；
背景知識
https://kknews.cc/zh-hk/culture/46xal8x.html
董其昌對唐朝李邕有句著名的評價——右軍如龍，北海如象。這是董其昌推崇王羲之、李邕二人，說他們就像是書法中最有成就的「龍象」，是最能得書道真諦的大家。
李邕是何許人也？董其昌怎麼會給他如此高的評價？
李邕，字泰和，廣陵江都（今江蘇揚州）人。儀鳳三年（678年）生，天寶六年（747年）卒，唐代著名行楷大家。祖籍江夏(今湖北武昌)，自稱「江夏李邕」。開元中為官北海郡太守，世稱「李北海」。
大凡古代書家多徇家學淵源。李家世代書宦，與王謝庾郗衛門閥豪右交密，結姻親於衛氏，東晉書家衛鑠，即為李氏先母，受其教化，傳承自然備受重視。李邕書取法二王法帖，尤其《聖教序》臨習透徹，摩挲至深，幾近乎神肖。李邕師學如此，關鍵在於自悟造化，還能不為二王書風所縛，能入乎其內而出乎其外，撮取儒雅秀美的羲獻書風，結合樸厚峻拔北碑筆意，兼兩者之優長，並熔為一爐，最終形成個人獨特面貌，這便是李邕書法高妙之處。
李思訓碑局部
李邕反對因襲舊習，提倡創新，對於後學有「似我者俗，學我者死」箴言忠告。
これまた＜まねはよくない＞ということ。
Shi Tao said: That is breaking the law enforcement. For art, can not do with the wave of people.
石濤說：“法無定，定無法”，即在破法執。為藝者，不能做隨波逐浪人。
さて “法無定，定無法” の意味だが、明らかに That is breaking the law enforcement. ではない。
わたしは石濤に特に興味があるので、これはいろいろ調べてみたが、この論文の作者は別の論文で次のように言っている。つまりは“法無定，定無法”とあるので石濤がどこからか引用しているのだ。
朱良志:如何理解黄公望“渾”的画境 http://www.cssn.cn/zhx/zx_mx/201703/t20170331_3473826_2.shtml
前人評黃公望「如老將用兵，不立隊伍，而頤指氣使，無不如意」(28)。「不立隊伍」一句，真說出了黃公望畫的形式特點。他的畫，出入於有序與無序之間。重格法是他的立畫之基，但又有超越格法、絕不死於章句之下的一面。他晚年有《仿古二十冊》，自題說：「晉唐兩宋名人遺筆，雖有巨細精粗之不同，而妙思精心，各成極致，余見之不忍釋手。迨忘寢食，間有臨摹必再始已，此學問之吃緊也。……非景物不足以發胸襟，非遺筆不足以成規範，是二者，未始不相須也。」沒有景物不能成為山水畫，但自然丘壑又必經胸中盤郁而出，繪畫不能斤斤物象；沒有古法便無筆墨之資、規範之據，但有規範又要 「遺」規範，故能成其規範。這正是禪家所謂「法無定，定無法」、「我說法，即非法，是為法」的要義。這就像黃公望認為繪畫必佐之以「學問」(董其 昌的「讀萬卷書，行萬里路」其實就來自子久(29))，但據此就認為他「以學問為畫」、重視寫生，那就是誤解了。明汪砢玉說：「水紋風皺，花影月翻，此不染畫事也。觀大痴畫不當於筆墨中求之。」(30)說得很有道理。
格法：成法，法度。＜重格法＞＜成法，法度をコピーする、＞の意か。
繪畫不能斤斤物象
斤斤
(1) [clear]∶明察的样子
(2) [to haggle over every ounce]∶指过分用心于琐碎或无关紧要的事物
斤斤计较
ここは（２）の意。
「遺」規範
遺 yí
1. 丢失：～失。～落。
2. 漏掉：～忘。～漏。
3. 丢失的东西，漏掉的部分：补～。路不拾～。
したがって＜沒有古法便無筆墨之資、規範之據，但有規範又要 「遺」規範，故能成其規範。＞の部分は
古い方法（きまり、手本など）がないと水墨画は描けない。規範に基づくのだ。だが、規範はあってもこれを捨て去ることにより、別の（新たな）規範（方法）を作ることができる。
という意味なのだ。 そして “法無定，定無法” はこのような意味だ、と言っているようだ。
この部分のGoogle翻訳
Former predecessors Huang Gongwang "such as the veteran troops, do not stand on the team, and heresy, all wishful". "Do not stand the team," a sentence, really say the form of Huang Gong painting features. His paintings, out of order and disorder. Gravity method is the base of his painting, but there is beyond the lattice method, will never die under the chapter. In his later years there are "antique 20 volumes", since the title said: "Jin and Tang Dynasties celebrities posthumously, although the size of the different essence, and thoughtful meticulous, into the extreme, I can not wait to release. , There must be a copy of the beginning of this, the learning is also tight ... ... Non-landscapes are not enough to open their minds, non-legacy is not enough to be norms, both are not the same. "No landscape can not be a landscape painting, but The natural hills and valleys must pass through the chest disk Yu Yu out, the painting can not be preoccupied with the image; there is no ancient law without pen and ink, normative data, but there are norms to "legacy" norms, it can become its norms. This is exactly what Zen Buddhism refers to as "law is indefinable and can not be determined" and "what I say is illegal is the essence of law." It is just like Huang Gongwang's view that painting will be accompanied by "learning"
例によって支離滅裂の訳文だが、昔の画家黃公望について論じているので致し方ないか。“法無定，定無法” は "law is indefinable and can not be determined" の意ではない。結局のところ “法無定，定無法” の意味は＜規範というのは定まりなく、定まれば規範ではなくなる＞といった禅問答的な意味か。あるいはもっとソフトに＜絵画（書道、芸術一般）に規範（手本）はあってもいいが杓子定規に従うことはない＞と言ったところか。禅問答を英訳するのは至難の業（わざ）だ。
＜為藝者，不能做隨波逐浪人＞の＜隨波逐浪＞は四字成語でいくつかの違った意味が発生しているようだが、ここは＜波、流れに飲まれる＞で主体性がないこと。したがって、ここでも＜独自性、創造性が必用＞といっている。
話は少しそれるがこの論文作者：朱良志には石濤について書いた論文がある。石濤は芸術における創造性について考察し書いている。
朱良志｜“一画”新诠
https://m.sohu.com/n/480931688/
朱良志谈石涛研究：被误解与被重新发现的石涛
http://cul.qq.com/a/20171104/006285.htm
＜朱良志｜“一画”新诠＞から
【赏析】
石涛的一画说主要是在禅宗影响下形成的一个重要概念。一画不是道，不是线，而是法。一切具体的法则是有为法，而 一画是无为法，是最高的法，至法无法，无法即法本身。石涛强调这一无为之法，意在使画家解除一切来自于传统、概念、物欲、笔墨技法等束缚，进入到一片创作的自由境界中。所以，一画的核心是要掘发人的创造力，这一创造力是人的自性的显现，而如何使这一创造灵明自在兴现，惟有通过妙悟的认识途径才能达到。石涛的一画说，不是一个关于画法的理论，而是一种侧重于建立自性本体的理论，这一自性本体可以称为创造本体。一画可以说 是一种体物方式，一种创作原则，一种创作心境，甚至可以说是一种人生境界。它比较全面地反映了石涛在画学方面的整体看法，所以他说：“吾道一以贯之”。在中国画学史上，虽然也有一画、一笔画等类似的概念，但和石涛的一画说的内涵是完全不同的。一画说是石涛独创的画学概念，如果说石涛有画学理论体系，这个体系的中心概念就是一画。
“一画”，是研究石涛画学思想无法回避的概念，学界对此有深入的研究，已经取得一些令人瞩目的成果，但至今它仍 然是一个疑窦丛生的研究对象。以下是笔者的研究心得，提出以求教于同道。
一、石涛所谓“一画”，乃是画之一，是绘画创作的最高法则。
石涛所谓“一画”，实际是“无画”。与其说石涛要建立一种绘画体系，倒不如说他要解构长期人们所奉行的艺术观念。石涛的论证方式不是表诠，而是遮诠，它用否定的方式来说明自己的道理。他树立的“一画之洪规”，是一个不为任何先行法则所羁束的艺术创作 原则。在他看来，世人说的是“经”，他说的是“权”；世人说的是“有”，他说的是“无”；世人说的是“万”，他说的是“一”。他的“一”，不是数量上的“一”，不是一笔一画，而就是无。在他看来，无心处就是有心，无画处就是有画，无法处就是至法。他要通过对先行法则的解构，建立一 种无所羁束、从容自由、即悟即真的绘画大法。
从石涛的画学观点看，“一画”是无分别，无对待的，是“不二之法”，这是“一画”说最重要的特点。它不是一套可 以操作的绘画创作的具体法度，那是一般的法则，他要说的是绝对的，不二的根本之法。依佛教的术语，可以说，他的一画不是有为法，而是无为法， 是无法之法、不二之法。没有时间的分际，并不是先有了这个“一”，再有二，以至万有。所以，石涛在《画语录》中虽然说“太古无法，太朴不散， 太朴一散，而法立矣，法于何立，立于一画”，但这并不等于说，它是一个时间的展开过程，不是由太朴分出一画，由一画分出万有。同时，一画也不是在空间中延展的序列，如由一点一画推延开去。禅宗的古德云：“两头共截断，一剑倚天寒。” 彻天彻地，彻古彻今，一切束缚，尽皆除去，只剩下一把锋利的剑矗立在天地之间，放出凛凛的寒光。这一剑无分别，无对待，两头绝断，两头是二，二就是分别， 是对待，是差异，是杂多。此意为石涛建立他的“一画”说的基本原则。石涛在《画语录》中说：“自一治万，自万治一”；“自一以分万，自万以治 一”的论断，这个“一”，就是他的“一画”。“一画”的“一”不能以量上观，由一到万，不是体量上的扩大。“一”就是无。如同慧能所说：“心量广大，遍周法界，用却了了分明，应用便知一切，一切即一，一即一切”[1]；慧能弟子永嘉玄觉所说：“一性圆通一切性，一法篇含一切法，一月普现一切月，一切水月一月摄”[2]。
ここに＜至法无法，无法即法本身。＞、＜他的一画不是有为法，而是无为法， 是无法之法、不二之法＞というのがある。すこしわかりやすいが、これまた禅問答のようだ。“两头共截断，一剑倚天寒。” も禅師の言葉で分かりずらいが
日本一位將軍在出征之前去問來自中國的明極楚俊禪師：「在生死交關的時候該如何？」禪師說：「兩頭俱截斷，一劍倚天寒。」他的意思是不是說，把生死對立的觀念放下之後，本來面目自然就出現了呢？
「兩頭俱截斷，一劍倚天寒」，把「生」一劍斬掉，把「死」也一劍斬斷，中間什麼也沒有了，只剩斬掉生死的那把劍。這把劍像虛空一般廣大無邊，也可以說全虛空就是一把劍，生與死根本沒有機會存在。一遇到這把劍，對死亡的觀念、憂慮、恐懼不見了，對生的欲求、貪念、執著也沒有了；生也斬掉，死也斬掉，這就是大智慧、大決心、大信心。
という解説がある。後半の＜一劍倚天寒＞の説明がないが＜只剩下一把锋利的剑矗立在天地之间，放出凛凛的寒光。＞のような意味であれば、禅師の言葉というよりは詩人の言葉だ。脇道にそれたが＜大巧若拙＞の美学について参考になる。石涛は大画家（Great Master）だ。さらに脇道にそれるので、ここでは大画家石涛も＜絵画では独立性。独自性、創造性が肝心＞と言っているにとどめておいて次に進む。
Chinese aesthetics emphasizes that aesthetic activity is a kind of activity that does not mean to seek each other's ideas and meets one another unexpectedly. The aesthetic beyond lies in the "table of tacit imagination", but it can be met instead of seeking. Demanding, is the purpose of the activity. In case, it is a chance of chance. Incidentality is actually a manifestation of the original motivation of life. In fortuitous encounters, remove all obscuration, abandon the external rational efforts, and make life itself clear. This contingency state, is a clumsy - a kind of unconcious mind state.
table はテーブルやリストの意ではなく、＜表明＞の意の＜表＞だろう。
ここでは＜独立性。独自性、創造性＞以外に＜偶然性（Incidentality）＞の重要性をのべている。そして最後に This contingency state, is a clumsy - a kind of unconcious (unconscious) mind state. （這偶然性狀態，就是拙——一種毫無牽繫的心靈狀態。）と言っている。、
偶然性、すなわち＜拙＞、は一種のまったく束縛されていない心理状態。 言い換えると＜自由な心＞が美（美学上創造的な美）を生み出す、ということだ。 詳しいプロセスは別として＜拙＞が＜美＞の制作と結びつくことになる。
contingency:
（インターネッと辞書）
future event or circumstance which is possible but cannot be predicted with certainty.
a provision for a possible event or circumstance.
synonyms: eventuality, (chance) event, incident, happening, occurrence, juncture, possibility, accident, chance, emergency; More
uncertainty;
Chinese aesthetics formed a series of related aesthetic problems.
Chinese aesthetics advocates "no camp" - a kind of unconscious creation without psychic camp. Dong Qichang said: "The ancients' airiness is the essence of the book, and the essence is at random, as a result of self-actuality.
"no camp" 原文は “無營” で“營” を camp とすると＜宿なし＞になってしまう。これでもまったくの間違いではないが、あとの説明にあるようにここは＜経営＞の “營” で、企業人が経営するから、＜企（くわだ）て＞が適当。book は書でここは書法（書道）のことで英語はcaligraphy だ。原文の董其昌の引用部は“古人神氣，淋漓翰墨間，妙處在隨意所如，自成體勢。故為書者，字如算子，便不是書，謂說定法也。”で、対応する英文 "The ancients' airiness is the essence of the book, and the essence is at random, as a result of self-actuality. は短すぎる。抜けている＜故為書者，字如算子，便不是書，謂說定法也。＞は続く解説ですこし出てくるが、＜書をなす者、企てをもって字を書けばそれは書にあらず。いわばお仕着せの書なり。＞と言ったところ。
[1] The so-called "operator" is a good plan beforehand. This is a deliberate operation and a deliberate operation. Therefore, it is not natural. The metaphor of Feng Shui in the Northern Song Dynasty was well known in the history of aesthetics. He said: "There is no camp in the world and the students, but water and wind only."
北宋蘇洵の人名＜蘇洵＞がぬけている。He said "xxxx" は蘇洵の言葉なのだ。 引用部の原文は“天下之無營而文生者，惟水與風而已。”で＜企てなきて文は生まれる。ただ水と風あるなり＞といったところか。
[2] Popular on the water, naturally written, is "no camp", because there is no mechanical presence, aesthetic transcendence depends on the occasion of chance. Popular metaphor on water, and the "Book of Changes" Gua Gua related. The hexagrams on the threshold, the elephant to "popular water, 涣" release of this hexagram. Winds at first, blowing a pool of spring water, know nothing, to know nothing. Although I do not know, the formation of the natural texture, but the best in the world.
Water, wind, 涣 However, together, ripples scattered, scattered in the text. Everything is inadvertently. The truth of this hexagram speaks of scattered, scattered and poly are relative, but there are poly scattered, scattered and scattered without exception, scattered outside and inside, on the surface inadvertently, but there is a big creation. The hexagrams of the hexagrams say: "涣 its group, Yuan Kyrgyzstan 涣 mound, incredible." Flood rushed to disperse the crowd. The impact of water, actually gathered into hills, really unimaginable, which means there is a poly in Ju. The "incredible" here places great emphasis on Chinese aesthetics. The real creation is not "thinking" but rather "encountering". The surpassing of art is in nature's "opportunity". Not in the minds of speculation, but in the natural cause and fit. Shi Tao calls this "only for a short period of time," and there is no preconceived notion of creating the subject.
Popular は＜風行＞の訳だが、 Popular on the water、Popular metaphor on water では何のことだかわからない。＜風行水上＞は四字成語。
成語詞典/風行水上 （https://tw.18dao.net/%E6%88%90%E8%AA%9E%E8%A9%9E%E5%85%B8/%E9%A2%A8%E8%A1%8C%E6%B0%B4%E4%B8%8A）
【拼音】：fēng xíng shuǐ shàng
【釋義】：比喻自然流暢，不矯揉造作。
【出處】：《周易·渙》：“象曰：風行水上，渙。”
という解説がある。
"Book of Changes" は《周易》または＜易書＞。＜易書＞の内容はGoogle翻訳ではお手上げだろう。したがって、この箇所の英文はチンプンカンプンだ。Gua Guaの原文＜渙卦＞。＜卦＞は＜当たるも八卦、当たらぬも八卦＞の＜卦＞だ。
wiki-中国版（https://zh.wikipedia.org/wiki/%E5%85%AB%E5%8D%A6）
によると
八卦包括：
- ☰（乾 qián ㄑㄧㄢˊ）
- ☱（兌 duì ㄉㄨㄟˋ）
- ☲（離 lí ㄌㄧˊ）
- ☳（震 zhèn ㄓㄣˋ）
- ☴（巽 xùn ㄒㄩㄣˋ）
- ☵（坎 kǎn ㄎㄢˇ）
- ☶（艮 gèn ㄍㄣˋ）
- ☷（坤 kūn ㄎㄨㄣ）
- 乾為天：元亨，利貞。
- 坤為地：元亨，利牝馬之貞。君子有攸往，先迷後得主，利西南得朋，東北喪朋。安貞，吉。
- 坎為水：習坎，有孚，維心亨，行有尚。
- 離為火：利貞，亨。畜牝牛，吉。
- 震為雷：亨。震來虩虩，笑言啞啞。震驚百里，不喪匕鬯。
- 艮為山：艮其背，不獲其身，行其庭，不見其人，无咎。
- 巽為風：小亨，利攸往，利見大人。
- 兌為澤：亨，利貞。
＜涣卦＞は Baike/Baidu https://baike.baidu.com/item/%E6%B6%A3%E5%8D%A6 ）によると
涣卦是易经六十四卦第59卦。涣是2：3卦的卦名，代号是2：3。“涣”（huàn），散开：涣散。2：3卦的主卦是2卦坎卦，卦象是水，特性是危险和困难；客卦是3卦巽卦，卦象是风，特性是顺从。水流到那里都没有阻挡，客方顺从主方，让水到处流，从而，水到处泛滥。风水涣（涣卦）拯救涣散。这个卦是异卦（下坎上巽）相叠。风在水上行，推波助澜，四方流溢。涣，水流流散之意。象征组织和人心涣散，必用积极的手段和方法克服，战胜弊端，挽救涣散，转危为安。左图中，红色表示当位的爻，天蓝色表示不当位的爻，箭头表示有应。
hexagrams は＜八卦＞のことだろう。
Winds at first, blowing a pool of spring water, know nothing, to know nothing. Although I do not know, the formation of the natural texture, but the best in the world.
Water, wind, 涣 However, together, ripples scattered, scattered in the text.
ここは風と水のことを言っているのはわかる。the formation of the natural texture は＜其形成的自然紋理＞が原文で＜水面（みなも）に風が吹いて自然と水紋ができる＞ということ。自然にできるのだが非常に美しい（天下之美を具している）と言っているのだ。
[2] 風行水上，自然成文，是“無營”的，因為沒有機心存在的地方，審美的超越仰賴於偶然的興會。風行水上之喻，與《周易》渙卦有關。此卦下坎上巽，大像以“風行水上，渙”釋此卦。風乍起，吹皺一池春水，無所知來，無所知去。雖不知，其形成的自然紋理，卻具天下之至美。
水上行風，渙然而合，漣漪為散，散中有文。一切都在無意中。此卦講散的道理，散和聚是相對的，然散中有聚，形散而神不散，外散而內不散，表面上的不經意，卻有大的創造。此卦六四爻辭說：“渙其群，元吉。渙有丘，匪夷所思。”大水沖去，沖散了眾人。水的衝擊，居然聚集成山丘，真是難以想像，此之謂渙中有聚。這裡的“匪夷所思”在中國美學中極受重視，真正的創造不是“思”而致，而是“遇”而得，藝術的超越在自然的興會——“機遇”中。不在人心的揣度中，而在自然的因緣和合中。石濤將此稱為“只在臨時間定”，沒有一個先行存在的控制創造主體的意識在。
唐張懷瓘《書議》說：“雲霞聚散，觸遇成形。”此即為風行水上的美。陳師道曰：“善為文者，因事以出奇。江河之行，順下而已。至其觸山赴谷，風搏物激，然後儘天下之變。”[3] 蘇軾提出“隨物賦形”的觀點，他說：“吾文如萬斛泉源，不擇地皆可出，在平地滔滔汩汩，雖一日千里無難。及其與山石曲折，隨物賦形，而不可知也。所可知者，常行於所當行，常止於不可不止，如是而已矣。其他雖吾亦不能知也。”[4] 行於所當行，止於所當止，所取乃在自然之勢，而非人的機心所可逆料①。蘇軾的隨物賦形，所得即在“無營”之妙，是不“知”的境界，唯任其自然而已。風行水上，其實就是讓心靈自由的“遊戲”，在真實的境界“遊戲”。南宋鄧椿在談到一位叫虛靜（覺心）的僧人畫家時說：“虛靜師所造者道也，放乎詩，遊戲乎畫，煙雲水月，出沒太虛，所謂風行水上，自成文理者也。”[5] 說的就是這個道理。
[1] The so-called "operator" is a good plan beforehand. This is a deliberate operation and a deliberate operation. Therefore, it is not natural. The metaphor of Feng Shui in the Northern Song Dynasty was well known in the history of aesthetics. He said: "There is no camp in the world and the students, but water and wind only."
[2] Popular on the water, naturally written, is "no camp", because there is no mechanical presence, aesthetic transcendence depends on the occasion of chance. Popular metaphor on water, and the "Book of Changes" Gua Gua related. The hexagrams on the threshold, the elephant to "popular water, 涣" release of this hexagram. Winds at first, blowing a pool of spring water, know nothing, to know nothing. Although I do not know, the formation of the natural texture, but the best in the world.
Water, wind, 涣 However, together, ripples scattered, scattered in the text. Everything is inadvertently. The truth of this hexagram speaks of scattered, scattered and poly are relative, but there are poly scattered, scattered and scattered without exception, scattered outside and inside, on the surface inadvertently, but there is a big creation. The hexagrams of the hexagrams say: "涣 its group, Yuan Kyrgyzstan 涣 mound, incredible." Flood rushed to disperse the crowd. The impact of water, actually gathered into hills, really unimaginable, which means there is a poly in Ju. The "incredible" here places great emphasis on Chinese aesthetics. The real creation is not "thinking" but rather "encountering". The surpassing of art is in nature's "opportunity". Not in the minds of speculation, but in the natural cause and fit. Shi Tao calls this "only for a short period of time," and there is no preconceived notion of creating the subject.
原文
第 2 頁, 共 6 頁
一, 拙是超越機心，達到偶然的興會。
《莊子：天地》說，子貢南游楚國，返回晉國，過漢陰，見到一老翁澆菜園，抱著一個大甕到井中灌水，吃力多而功效少。子貢說：你為什麼不用水車呢，水車用力少而功效大。這老翁說了一段意味深長的話：“有機械者必有機事，有機事者必有機心。機心存於胸中，則純白不備；純白不備，則神生不定；神生不定者，道之所不載也。吾非不知，羞而不為也。”故事核心在反對機心，因為用機械，就是一種機事，是機事，就會有機心，有了機心，就破壞心靈的“純白”——純而不雜、光明澄澈的心靈。超越機心，就是恢復一種從容自由的真實生命。機心就是巧，而純白的境界則是道之拙。在中國美學看來，機心意味著：（1）它是一種目的性的活動。機心，就是有所期待。目的性的求取制約心靈的選擇，它不是一種自由的創造境界。 （2）它是一種知識的活動，人的理智、經驗等構成了機心的發動根源，從而形成對生命真性的遮蔽。 （3）它是一種依循法度而進行的活動，機心就意味“定法”，法定而澄明之心不存。
大巧若拙的美學觀念強調對機心的超越：它反對目的性的求取，強調偶然性的興會；反對知識的盤算，強調當下的超越，知識的參與實與審美的深入成反比；反對先行存在的秩序，強調法無定法，審美不是對先行存在的法度的實現，而是自在、自由、無所依循的創造活動。南朝張融說：“不恨臣無二王法，恨二王無臣法”；唐李北海說：“似我者俗，學我者死”；石濤說：“法無定，定無法”，即在破法執。為藝者，不能做隨波逐浪人。
中國美學強調，審美活動是一種無意乎相求、不期然相會的活動，審美超越在於“默會想像之表”，可遇而不可求。可求者，就是目的的活動。而遇，則是一種偶然的際遇。偶然性其實是對人原初生命動力的彰顯。在偶然性的際遇中，去除一切遮蔽，放棄外在的理性努力，讓生命本身自在澄明。這偶然性狀態，就是拙——一種毫無牽繫的心靈狀態。
中國美學形成了一系列與此相關的美學問題。
中國美學提倡“無營”——一種沒有心靈營算的無意識創造方式。董其昌說：“古人神氣，淋漓翰墨間，妙處在隨意所如，自成體勢。故為書者，字如算子，便不是書，謂說定法也。”
[1] 所謂“算子”，就是事先盤算好，這是刻意經營，刻意經營，便不是自然。北宋蘇洵有關風水的比喻在美學史上很著名。他說：“天下之無營而文生者，惟水與風而已。”
[2] 風行水上，自然成文，是“無營”的，因為沒有機心存在的地方，審美的超越仰賴於偶然的興會。風行水上之喻，與《周易》渙卦有關。此卦下坎上巽，大像以“風行水上，渙”釋此卦。風乍起，吹皺一池春水，無所知來，無所知去。雖不知，其形成的自然紋理，卻具天下之至美。
水上行風，渙然而合，漣漪為散，散中有文。一切都在無意中。此卦講散的道理，散和聚是相對的，然散中有聚，形散而神不散，外散而內不散，表面上的不經意，卻有大的創造。此卦六四爻辭說：“渙其群，元吉。渙有丘，匪夷所思。”大水沖去，沖散了眾人。水的衝擊，居然聚集成山丘，真是難以想像，此之謂渙中有聚。這裡的“匪夷所思”在中國美學中極受重視，真正的創造不是“思”而致，而是“遇”而得，藝術的超越在自然的興會——“機遇”中。不在人心的揣度中，而在自然的因緣和合中。石濤將此稱為“只在臨時間定”，沒有一個先行存在的控制創造主體的意識在。
唐張懷瓘《書議》說：“雲霞聚散，觸遇成形。”此即為風行水上的美。陳師道曰：“善為文者，因事以出奇。江河之行，順下而已。至其觸山赴谷，風搏物激，然後儘天下之變。”[3] 蘇軾提出“隨物賦形”的觀點，他說：“吾文如萬斛泉源，不擇地皆可出，在平地滔滔汩汩，雖一日千里無難。及其與山石曲折，隨物賦形，而不可知也。所可知者，常行於所當行，常止於不可不止，如是而已矣。其他雖吾亦不能知也。”[4] 行於所當行，止於所當止，所取乃在自然之勢，而非人的機心所可逆料①。蘇軾的隨物賦形，所得即在“無營”之妙，是不“知”的境界，唯任其自然而已。風行水上，其實就是讓心靈自由的“遊戲”，在真實的境界“遊戲”。南宋鄧椿在談到一位叫虛靜（覺心）的僧人畫家時說：“虛靜師所造者道也，放乎詩，遊戲乎畫，煙雲水月，出沒太虛，所謂風行水上，自成文理者也。”[5] 說的就是這個道理。
中國美學有一種“不即”的觀點，就是不追求，“不期然”，如“期然”，則不必然。 《二十四詩品·沖淡》雲：“素處以默，妙機其微。飲之太和，獨鶴於飛。猶之惠風，荏苒在衣。閱音修篁，美曰載歸。遇之匪深，即之愈希。脫有形似，握手已違。”不刻意求取，一刻意即落有為，一有為就破壞物我之間玲瓏微妙的契會，破壞溫和淡雅的意致。放棄目的的、理智的、慾望的追求，也即放棄對“巧”的追求。詩人是以心去“遇”——無意乎相求，不期然相遇，而不是去“即”——孜孜以追求。因為一“即”就“希”，渺然而不可見；一遇即“深”，契合無間，意象融凝。
中國美學有“無心湊泊”的觀點。所謂“湊泊”，即出自人機心的活動，它是有意的，有目的的，所以不自由。董其昌說，藝術的高妙之境，在“無心湊泊處”見分曉，強調微妙玲瓏的興會。明末畫家惲香山是一位倪雲林畫風的繼承者，他說，“雲林之妙，在無心湊泊處”，如果有心去追之，則失雲林，如果從形跡上求雲林，終不得云林，雲林之妙，由自由心性中流出。南宋嚴羽認為唐詩的境界在“不可湊泊”，如水中之月，夢中之影，相中之色，鏡中之花，言有盡而意無窮。唐詩之妙，不是“做”出的，“做”出的，便是出自機心，而是心靈中“流”出的。像劉眘虛“道由白雲盡，春與青溪長。時有落花至，遠隨流水香”小詩，彰顯的是人性靈的悠然、生命的超越，真不是“做”出的。
中國古代有一種“無心”美學觀。云無心以出岫，鳥倦飛而知還。有心為之則不得，無心為之則觸之。有心栽花花不發，無心插柳柳成蔭。柳宗元詩云：“回看天地下中流，岩上無心雲相逐。”他說的就是無心的境界。石濤曾畫過一幅意味深長的《睡牛圖》，他在其上題有一跋：“牛睡我不睡，我睡牛不睡。今日清吾身，如何睡牛背？牛不知我睡，我不知牛累。彼此卻無心，不睡不夢寐。”牛無念，我無念，無念處大千，不睡不夢寐。我作畫如牛兒吃草，自在運行，不秉一念，不受一拘。此之謂無心。
八大山人有“天心鷗茲”的圖章。這齣自古代中國的一個著名故事。 《列子》中有一個故事：從前有一個住在海邊的人，喜歡鷗鳥，每天早晨到海邊，和鷗鳥玩樂，成百上千的鷗鳥落在他的身邊，一點也不害怕。他父親知道後，就對兒子說：“為我抓一隻來，讓我玩玩。”第二天早晨，此人照例到海邊，但鷗鳥在他的頭上飛來飛去，不再落下。因為此人這時有了機心，有了貪欲，有了目的，而鳥兒是忘機的。八大山人要做一隻“天心”鷗鳥，與世界自在遊戲。
在中國藝術中，“忘機”成為一種境界，像唐代畫家、詩人張志和號稱“忘機鳥”，他的“江上雪，浦邊風，笑著荷衣不嘆窮”的謳歌，他的“樂在風波不用仙”的境界，就是無心。蘇軾詞云：“誰似東坡老，白首忘機。”這也在彰顯一種無心的境界。在中國哲學中，道禪哲學都強調無心，老子的“天地不仁，以萬物為芻狗。聖人不仁，以百姓為芻狗”，所謂“不仁”，是一種無心的境界，即莊子的純白之境。莊子“泉涸，魚相與處於陸，相呴以濕，相濡以沫，不如相忘於江湖”的著名寓言，所謂“相忘於江湖”，說的就是無心於萬物的境界。禪宗的“三無”學說中，以無念為宗，無念，就是“於念而不念”，所謂一念心清淨，處處蓮花開。
中國美學在創造方式中的生熟問題，其妙意也在巧拙之間。生和熟是一對概念，書畫需由生到熟，又由熟到生。開始的生，因為技法不熟悉，故需要基本的技法訓練，但當藝術技法相對熟悉之時，最容易成為技法的奴隸，還應該回到生，這就是熟外之生。中國藝術厭惡熟，認為熟，就會俗、甜、膩，這樣的藝術有諂媚之態。藝術太熟了，就會為成法所拘，一切似乎都在人定之中，天心則無從著地。鄭板橋有詩道：“三十年來畫竹枝，日間揮灑夜間思。冗繁削盡留清瘦，畫到生時是熟時。”熟外求生，不做秩序的奴隸。董其昌說：“畫須熟後生。”這一觀點被有的論者說成是度人金針②。熟外之生，破的就是機巧。生境，就是拙境。中國藝術家說，生辣處見真心，這個生辣，就是對機心的超越，對法度的超越，以法無定法之心，應會自然。
無營、無湊泊、無心、不即、生辣等等表述，反對的是機心，推重的是拙意，彰顯的是無意識的體驗，反對的是目的性的求取。這樣的思想，在中國美學中具有相當的普遍性，也是中國美學頗有特點的理論。
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