“一画”洪规：石涛绘画思想的主体自觉与理论建构

The Supreme Rule of “Yi Hua” : The Subjective Consciousness and Theoretical Construction of Shi Tao’s Painting Thought

The complex historical environment and social context of the transition from the Ming to the Qing dynasties profoundly shaped and nourished Shi Tao's artistic development. Shi Tao, with an isolated posture, has blazed an artistic path leading to individual expression, advocating that “Yi Hua” is the origin of all things and the fundamental rule of painting. This is not only a transcendence and innovation of the orthodox conventions popular during the cultural transformation period, but also a conscious reconstruction and spiritual breakthrough of the essence of art. Shi Tao’s theories and practices on painting are based on his nature, take nature as a mirror, and take The Times as a dimension. They highlight the intrinsic connection between his artistic innovation and the context of The Times. They not only provided a basis for innovation for the Eight Eccentrics of Yangzhou and modern and contemporary painters, but also had a profound impact on the transformation of Chinese painting studies from tradition to modernity.

明清鼎革的复杂时代土壤与社会语境，深刻塑造并滋养了石涛的艺术发展。石涛以孤绝之姿开辟出一条通向个体表达的艺术路径，主张“一画”是万物的本源和绘画的根本法则，不仅是对文化转型期正统程式的超脱与创新，更是对艺术本体的自觉重构与精神突围。其画论思想与实践以心性为根、自然为镜、时代为维，凸显了其艺术革新与时代语境的内在关联，不仅为扬州八怪及近现代画家提供了革新依据，更对中国画学从传统向现代的转型产生了深远影响。