谢赫在《古画品录》中首先提出“六法” ,并以此作为一种标准对画家及其作品进行品评。魏晋之后 ,画家与批评家在实际运用中无不以此为准绳。可是 ,在运用这一尺度中 ,往往由于论者的视角及观念上的差异 ,从而造成了对“六法”真义的歧解 ,其中不乏偏颇之见。这种歧解势必造成标准的混乱 ,从而带来绘画创作与品评的随意性。当代中国画所面临的危机 ,从某种意义上讲与这种认识上的偏离有着直接的关系。究其深层原因 ,与我们在理解和运用“六法”时已不再去考察其产生的背景 ,不再从谢赫对“六法”运用的角度来理解它有关。直解“六法”真义显得十分重要 Sheikh first proposed “Six Laws” in the “Ancient Pictorial Catalog” and used it as a standard for the artist and his works. After the Wei and Jin Dynasties, painters and critics in the actual use of all this standard. However, the use of this scale often leads to the disparagement of the true meaning of the “six laws” due to the differences in their perspectives and concepts. Many of them are biased. This kind of disagreement will inevitably lead to standard confusion, which will bring the randomness of painting creation and evaluation. The crisis faced by contemporary Chinese paintings is, in some ways, directly related to this deviation in understanding. Investigate its underlying causes, and we are no longer in the understanding and use of the “Six Laws” to examine its background, no longer from Sheikh on the “six law” perspective to understand it. It is very important to understand the true meaning of “Six Laws”