CAJ | 학술논문

“神”“妙”“能”“逸”自唐开始便作为中国绘画的品评标准，从这个体系内部来看，前三者的关系更为紧密，且有递进关系；“逸”则游离于法度之外，有自身的特殊性。关于“神”“妙”“能”，以往的研究大多是对其进行理论溯源，索求各自特征，或者考察其对后世的影响等，这些都是从个体角度分别对“神”“妙”“能”进行讨论，而没有建立三者之间的联系。若联系中国艺术的体道观点，就会发现三者对“道”的体悟是在逐步逼近的。以“道”为旨归，愈能见其高下。所以从横向看，“神”“妙”“能”是中国画三个不同的品评标准，有着各自的内涵；从纵向看，“能”“妙”“神”的一步步推进体现着中国画对体道的逐级向往。
“신”“묘”“능”“일”자당개시편작위중국회화적품평표준，종저개체계내부래간，전삼자적관계경위긴밀，차유체진관계；“일”칙유리우법도지외，유자신적특수성。관우“신”“묘”“능”，이왕적연구대다시대기진행이론소원，색구각자특정，혹자고찰기대후세적영향등，저사도시종개체각도분별대“신”“묘”“능”진행토론，이몰유건립삼자지간적련계。약련계중국예술적체도관점，취회발현삼자대“도”적체오시재축보핍근적。이“도”위지귀，유능견기고하。소이종횡향간，“신”“묘”“능”시중국화삼개불동적품평표준，유착각자적내함；종종향간，“능”“묘”“신”적일보보추진체현착중국화대체도적축급향왕。
“Miraculous, ingenious, capable and leisure”evaluation criterion has been used to judge Chinese paintings since Tang Dynasty. Among the f our criterion, the f ormer three are more closely related, while“leisure”is slightly different. As for“miraculous, ingenious and capable”criterion, previous researches focus on their origin of theory or its inlfuence on later generations. The discussions are conducted individually, rather than connecting each other. From the perspective of the philosophy of Taoism of Chinese art, we f ind that their understanding of Taoism is gradually progressive. According to this perspective, we can judge their superiority. Looking f rom the horizontal view,“miraculous, ingenious and capable”criterion is three different judgments of Chinese paintings with their unique connotation. Vertically, they gradually embody Chinese painting’s yearning for being close to nature.