原文

诸家画品

白沙字，李子长画猫，梁市南、陈全人白描佛相人物，袁道生山水，黎叔宝印章，黄仲亨印纽，皆粤东之所贵也。尹伯阳花鸟，能曲尽其情状，稍惜笔重耳。凡写生必须博物，久之自可通神。古人贱形而贵神，以意到笔不到为妙。粤东以翎毛名者颇众，若吕纪、林良、张穆之皆神气生动，不甚著意，设色如生，故可贵。林良祖黄筌、边景韶，而枯荣之态、飞动之势似过之。章皇帝尝召良为待诏，一时画苑称雄。若马远以山水，刘鉴、陈瑞以松，钟雪舫以春草，皆自以为不及。白沙有《题林良林塘春晓图》云：“烟飞水宿自成群，物性何尝不似人。得意乾坤随上下，东风醉杀野塘春。”亦贵之也。有官能者，香山千户所小旗，生有巧思，欲与林良抗衡，所画鳞鬛亦精绝。又有张千户善画松，白沙有歌云：“张侯画松人不识，松不画横惟画直。上干青霄下盘石，倒卷苍龙二千尺。神物安可留屋壁，变化虚空了无迹，不然恐遭雷斧辟。左手执弓右持戟，取胜无过万人敌。侯莫画松费笔力，张千户松不多有”。观此歌，亦可想见其妙矣。穆之尤善画马，尝畜名马曰铜龙，曰鸡冠赤，与之久习，得其饮食喜怒之精神与夫筋骨所在，故每下笔如生。尝言韩干画马，骨节皆不真，惟赵孟頫得马之情，且设色精妙。又谓骏马肥须见骨，瘦须见肉，于其骨节长短，尺寸不失，乃为精工。又谓马相在骨，其腹前有两兰筋，尝微动者则良。前蹄后有灶，谓之寸金。马奔驰时，后蹄能击到寸金，谓之跨灶。跨高一寸者为骏，低者次之。寸金处常破损如豆大，有血流出不生毛，是为跨灶之验。凡马皆行一边，左前足与左后足先起，而右前足右后足乃随之，相交而驰，善骑者于鞍上已知其起落之处。若骏马则起落不测，瞬息百里，虽欲细察之，恒不能矣。故凡骏马之驰，仅以蹄尖寸许至地，若不沾尘然，画者往往不能酷肖。穆之画鹰及兰竹亦善。他若写山水者彭伯时、赖白水、英白石，花卉者赵裕子，兰者杨宪卿，竹者梁森琅、梁文震，皆一时高手。伯时名滋，性高简，不轻为人作画。尝有豪贵夺其田，曰：“为我画，即归汶阳”。伯时唾之不为画，卒弃其田。

白话

中文

各家画作的品评

陈白沙的书法，李子长的画猫，梁市南、陈全人的白描佛像人物画，袁道生的山水画，黎叔宝的印章，黄仲亨的印纽，都是广东所珍视的。尹伯阳的花鸟画，能够充分表现出花鸟的情态，稍微可惜的是用笔略显凝重。凡是画写生，必须见多识广，知识渊博，时间久了自然能达到出神入化的境界。古人轻视外在形似而重视内在神韵，认为意境达到而笔墨不必处处精到才是妙品。广东以画翎毛（鸟类）出名的人相当多，像吕纪、林良、张穆之都能画得神气生动，看似不太经意，设色却如同真的一样，所以很可贵。林良师法黄筌、边景韶，但在表现草木枯荣的情态、禽鸟飞动的气势方面似乎超过了他们。明宪宗（章皇帝）曾召见林良入宫做待诏画家，（林良）在当时的画院中称雄一时。像以山水画闻名的马远，以画松树闻名的刘鉴、陈瑞，以画春草闻名的钟雪舫，都自认为比不上林良（在他擅长的领域）。陈白沙有《题林良林塘春晓图》诗说：“烟霭中水鸟自然成群，动物的天性何尝不像人。自由自在地在天地间上下飞翔，东风吹拂陶醉了整个春天的野塘。”这也是对林良画作的推崇。有一位有才能的官员，是香山千户所的小旗官，天生有巧妙的心思，想要和林良一较高下，他画的鱼类也极为精妙。又有一位张千户擅长画松树，陈白沙有歌赞曰：“张侯画的松树一般人不懂欣赏，他的松树不画横斜的只画挺直的。向上直插云霄，向下扎根磐石，如同倒卷的苍龙有二千尺长。这样的神物怎么能留在墙壁上？它会变化于虚空消失无踪，不然恐怕会遭受雷电的劈击。如同左手持弓右手拿戟的勇士，克敌制胜无人能敌。张侯不要（轻易）耗费笔力画松树了，张千户的松树画作是不多见的。”看了这首歌，也可以想见其画松的精妙了。张穆之尤其擅长画马，曾经饲养名叫“铜龙”、“鸡冠赤”的名马，和它们长期相处，掌握了它们饮食、喜怒的精神状态以及筋骨结构，所以每次下笔都画得栩栩如生。他曾说韩干画马，骨骼关节都不真实，只有赵孟頫得画出了马的神情，并且设色精妙。他又说画骏马，肥壮时必须能看出骨骼，瘦弱时必须能看到肌肉，对于骨骼关节的长短比例，尺寸毫不失误，才算是精工之作。他又说看马的好坏在于骨骼，马腹前面有两条兰筋，经常微微抽动的便是良马。前蹄后面有个部位叫“灶”，也叫“寸金”。马奔跑时，后蹄能踢到“寸金”部位，叫做“跨灶”。后蹄踢到处比“寸金”高一寸的是骏马，踢得低的就次一等。“寸金”部位常常破损如豆粒大小，有血流出且不长毛，这就是“跨灶”的证明。一般的马都是同侧的腿先动，左前足和左后足先抬起，然后右前足和右后足跟上，（原文理解可能有误，此处按字面译）交替前进，善于骑马的人在马鞍上就能知道它脚步起落的规律。如果是骏马，那么它的步法起落就难以预测，瞬间能行百里，即使想仔细观察，也常常无法做到。所以凡是骏马奔驰，仅仅用蹄尖一寸左右着地，好像不沾染尘土一样，画家往往不能画得完全逼真。张穆之画鹰以及兰花、竹子也很好。其他如画山水的彭伯时、赖白水、英白石，画花卉的赵裕子，画兰花的杨宪卿，画竹子的梁森琅、梁文震，都是当时的高手。彭伯时的名叫滋，性格清高简约，不轻易替人作画。曾经有豪门贵族夺占了他的田地，说：“替我画幅画，就把汶阳（田地）还给你。”彭伯时对他唾弃，不肯作画，最终舍弃了他的田地。

英文

Appraisal of Various Painters' Works

The calligraphy of Chen Baisha, the cat paintings of Li Zichang, the line drawings (baimiao) of Buddhist figures and people by Liang Shinan and Chen Quanren, the landscape paintings of Yuan Daosheng, the seals of Li Shubao, and the seal knobs of Huang Zhongheng were all treasured in Guangdong (Yuedong). Yin Boyang's flower-and-bird paintings could fully capture their spirit and form, though it's a slight pity his brushwork was somewhat heavy. To paint from life (xiesheng), one must possess broad knowledge; over time, one can naturally achieve divine mastery (tongshen). The ancients valued spirit (shen) over form (xing), considering it masterful when the intent (yi) arrives even where the brush does not fully reach (bi bu dao). Guangdong had quite a few famous painters of birds and feathers (lingmao). Artists like Lü Ji, Lin Liang, and Zhang Muzhi all painted with lively spirit (shenqi shengdong), seemingly without excessive effort, yet their coloring was lifelike (shese rusheng), hence they were highly valued. Lin Liang followed the styles of Huang Quan and Bian Jingzhao, but seemed to surpass them in depicting the states of wither and bloom and in capturing dynamic movement. Emperor Xianzong of Ming (referred to as Emperor Zhang) once summoned Liang to serve as an Attendant Painter (daizhao), and he dominated the Painting Academy (huayuan) at that time. Painters renowned in other genres, such as Ma Yuan for landscapes, Liu Jian and Chen Rui for pines, and Zhong Xuefang for spring grass, all considered themselves inferior [to Lin Liang in his field]. Chen Baisha wrote a poem on Lin Liang's "Spring Dawn by the Forest Pond" (Lin Tang Chun Xiao Tu): "Mist flies, water dwellers gather naturally in groups; how is animal nature unlike human? Contentedly roaming heaven and earth, up and down; the east wind intoxicates the wild pond in spring." This also shows his high regard for Lin Liang's work. There was a capable official, a junior standard-bearer (xiaoqi) in the Xiangshan Guard (Xiangshan Qianhusuo), who was naturally ingenious and sought to rival Lin Liang. His paintings of fish (linlie, scales and fins) were also exquisite. There was also a Commander Zhang (Zhang Qianhu) who excelled at painting pines. Chen Baisha wrote a song praising him: "Marquis Zhang paints pines unrecognized by men; his pines aren't painted horizontal, only straight. Reaching high into the blue sky, rooted below in bedrock; like inverted azure dragons two thousand feet long. How can such divine objects remain on house walls? They transform into the void leaving no trace; otherwise, they might be split by thunder's axe. Like a warrior with a bow in the left hand and a halberd in the right, achieving victory against ten thousand foes. Marquis, do not [easily] waste your brush's strength painting pines; Commander Zhang's pine paintings are not numerous." From this song, one can imagine their wondrous quality. Zhang Muzhi was especially skilled at painting horses. He once kept famous horses named Tonglong ("Bronze Dragon") and Jiguan Chi ("Cockscomb Red"). Through long familiarity with them, he grasped their spirit related to eating, drinking, joy, and anger, as well as their musculature and bone structure. Therefore, whenever he put brush to paper, his horses seemed alive. He once commented that in Han Gan's horse paintings, the joints were not accurately depicted. Only Zhao Mengfu captured the true spirit (qing) of the horse, and his coloring was exquisite. He also stated that when painting a fine steed (junma), even if fat, its bone structure must be visible; even if thin, its flesh must be shown. Achieving accurate proportions in the length of joints, without deviation, constitutes fine workmanship (jinggong). He further said that judging a horse depends on its bones. In front of the belly, there are two 'orchid tendons' (lanjin); if they constantly twitch slightly, the horse is good. Behind the front hoof, there is a spot called the 'hearth' (zao), also known as 'inch of gold' (cunjin). When a horse gallops, if its hind hoof can strike this 'inch of gold,' it is called 'straddling the hearth' (kuazao). Striking an inch higher indicates a superior steed; striking lower indicates a lesser one. The 'inch of gold' spot is often damaged, about the size of a bean, bleeds, and hair does not grow there – this is the proof of 'straddling the hearth.' Ordinary horses generally move one side at a time: the left front and left rear legs lift first, followed by the right front and right rear legs, crossing over as they run (literal translation of a possibly inaccurate description). Skilled riders can feel the lifting and landing from the saddle. However, the gait of a superior steed is unpredictable, covering a hundred li in an instant; even if one wishes to observe it closely, it's usually impossible. Thus, when a fine horse gallops, only about an inch of its hoof tip touches the ground, as if not stirring the dust. Painters often cannot capture this likeness perfectly. Muzhi also painted eagles, orchids, and bamboo well. Other contemporary masters included Peng Boshi, Lai Baishui, and Ying Baishi for landscapes; Zhao Yuzi for flowers; Yang Xianqing for orchids; and Liang Senlang and Liang Wenzhen for bamboo. Boshi's given name was Zi. He had a noble and simple character and did not readily paint for others. Once, a powerful nobleman seized his land, saying, "Paint for me, and I will return Wen Yang [his land]." Boshi spat in contempt, refused to paint, and ultimately abandoned his land.

文化解读/分析

本条目是屈大均对明末清初广东地区（粤东）艺术生态的一次巡礼和品评，展现了当时岭南艺术的多元面貌和若干重要艺术家的成就与风骨，具有重要的艺术史料价值和文化意义。

1. 岭南艺术的多元性与成就：条目开篇即罗列了书法（陈白沙）、绘画（涵盖猫、人物、山水、花鸟、鱼、松、马、鹰、兰、竹等多个门类）、篆刻（黎叔宝）、印纽雕刻（黄仲亨）等多种艺术形式及其代表人物，显示了明清之际广东地区艺术创作的全面与繁荣。特别是翎毛画领域，以吕纪、林良、张穆之为代表，达到了相当高的水准，林良更获得入值宫廷画院的殊荣，反映了岭南画派在中国绘画史上的地位。
2. 艺术理论与审美标准：“凡写生必须博物，久之自可通神”、“古人贱形而贵神，以意到笔不到为妙”等论述，反映了中国传统绘画理论的核心观念，即强调广博的知识积累（博物）、长期的实践（久之）、最终达到心领神会、超越形似的“通神”境界，以及重视“神韵”和“意境”的审美取向。张穆之关于画马“肥须见骨，瘦须见肉”、“尺寸不失”以及对韩干、赵孟頫的评论，则体现了对写实功底、解剖结构准确性与传神并重的具体要求。
3. 艺术家风骨与社会互动：条目不仅记录了艺术家的技艺，也刻画了他们的个性与社会处境。如林良在画院“称雄”，受到皇帝和同行的认可；陈白沙为林良、张千户的画作题诗，体现了文人间的雅集与相互推重；张穆之“畜名马”、“久习”以求“得其精神筋骨”，展现了艺术家深入生活、刻苦钻研的态度；而彭伯时“性高简”，面对强权“唾之不为画，卒弃其田”，则彰显了文人艺术家不畏权贵、坚守艺术独立与人格尊严的高尚气节。
4. 民俗知识与细节观察：张穆之关于相马的论述，如“兰筋”、“寸金”、“跨灶”及其验证方法，不仅是其画马精湛的知识基础，也反映了当时社会生活中关于相马的专门知识和民俗经验。对骏马奔跑时“蹄尖寸许至地”、“若不沾尘”的细致观察，既是画论，也带有生动的物候或动态观察色彩。这些细节丰富了文本的知识性和趣味性。
5. 区域文化认同的建构：屈大均作为广东本地学者，通过系统梳理和品评“粤东”的艺术家及其作品，不仅保存了珍贵的区域艺术史料，也在客观上强化了地方文化的独特性和成就感，有助于构建和巩固岭南的文化认同。

关键词

广东绘画, 岭南画派, 诸家画品, 屈大均, 广东新语, 艺语, 陈白沙, 李子长, 梁市南, 陈全人, 袁道生, 黎叔宝, 黄仲亨, 尹伯阳, 吕纪, 林良, 张穆之, 张千户, 彭伯时, 赖白水, 英白石, 赵裕子, 杨宪卿, 梁森琅, 梁文震, 书法, 绘画, 山水画, 花鸟画, 翎毛画, 人物画, 白描, 画马, 画松, 画猫, 画鱼, 篆刻, 印纽, 写生, 传神, 意境, 博物, 明代艺术, 清代艺术, 宫廷绘画, 待诏, 画院, 香山千户所, 相马, 跨灶, 寸金, 艺术家风骨