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纵观浩翰的古代绘画理论典籍以及“画谱”一类的书籍,无论是在笔墨法则、造型法则和着色法则中,处处都包含着它固有的程式。在这些程式中,有突出物象本质特征,使形象更鲜明突出的,如在人物画里的衣纹组织有琴弦描、铁线描、高古游丝描等,表现竹叶穿插组合有“人”、“个”、“介”字等,表现兰草有“凤眼”等;也有无一定形态,转眼即逝、瞬息万变的物象,经过程式化变成定型的样式符号形象的,如在中国画《朝元图》、《八十七神仙卷》等画卷里,那些云、雾、烟、气组织成条状、漩涡状等各种程式化处理的纹样,把物象表现得栩栩如生,产生一种特殊的美的效果。就绘画表现技法而
Throughout the vast ancient theory of ancient painting and classical books, such as “picture book” a class of books, both in the law of writing, modeling and coloring rules, everywhere contains its inherent program. In these programs, there are prominent features of the nature of the image, so that the image of a more prominent, as in the portrait paintings in the organization of the string strokes, wire drawing, silk gauze tour of ancient times, the performance of bamboo interweaving combination of “people ”,“ A ”,“ mediated ”and so on, the performance of bluegrass“ plume ”and so on; there is no certain form, blink of an eye, ever-changing image, stylized into stylized symbolic image, as in Chinese painting“ In the picture of ”Yuan Dynasty“ and ”Eighty-seven immortals", all kinds of stylized patterns like clouds, fog, smoke and air are organized into strips and swirls to make the objects appear lifelike and produce a special The beauty of the effect. On the painting performance techniques