1
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破相论 说破

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苦练一生的风格

3
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可能是我执

4
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有位上了年纪的书画家

5
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这些年忽然把自己关了起来

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不见客

7
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不与同行往来

8
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几乎断绝所有横向交流

9
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画室的门一关就是好几年

10
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外人猜测纷纷

11
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有人说他江郎才尽

12
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有人说他心灰意冷

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只有他自己清楚

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不是在逃避什么

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而是在参一件事

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这件事听起来很简单

17
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甚至有点荒唐

18
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笔墨到底有没有本性

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哈喽

20
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大家好

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我是王利杰

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这位老人给我写过一段很长的话

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他说自己搞了一辈子书画

24
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长期的艺术实践与佛学印证之后

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心里生出一个大疑问

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书画能不能承载佛学智慧

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或者反过来

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被佛学承载

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他发现

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书画一旦被套进西方美学框架

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就会被风格 流派 技法 名家这些概念反复切割

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切到最后

33
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又会变成新的执念

34
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在这一整套概念系统里

35
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本我被弱化

36
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甚至干脆消失不见

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他说

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看今天几乎所有作者的作品

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全停留在形而下的层面

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技法练得再精

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也谈不上获得佛学智慧

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更谈不上应用

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后来他读到一部小书 破相论

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读完觉得路忽然宽了

45
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可也是从那时起

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愿意看他作品的人反而变少了

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他在信里说

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他很高兴

49
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你可能觉得奇怪

50
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这有什么好高兴的

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搞艺术的人

52
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不是观众越多越好吗

53
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我们从小接受的逻辑大概都是这样

54
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书画家要有自己的风格

55
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风格越独特 辨识度越高

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就越说明这个人成了

57
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翻开任何一本美术史

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讲到一位大家

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第一句准是他开创了什么画派

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用笔有何独到之处

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学画的人从小就被反复叮嘱

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要早点找到自己的面貌

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技法要精进

64
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流派要清楚

65
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个人标签要立得住

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这几乎是所有创作者心照不宣的成功公式

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评论家需要标签才写得出文章

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市场需要签名才定得了价格

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观众也需要一副熟悉的样子才能一眼认出你

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这套逻辑听起来毫无毛病

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因为整个艺术教育 市场 评论体系

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都在验证这个常识

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但这位老人

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恰恰在这套公式里卡住了

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他发现

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风格本该是心走到某处后自然流出的痕迹

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可一旦风格变成要主动去追 去立 去维护的目标

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事情就悄悄变了质

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你不是在用笔墨照见自己

80
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而是在用笔墨制造一个与众不同的自己

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这两件事外表看一模一样

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都是在写字画画 琢磨笔法

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背后的方向却正好相反

84
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一个是从心出发

85
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让相自然长出来

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一个是先想好要什么样的相

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再回头去凑一颗心

88
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这也正是一千多年前 破相论 开篇就要拆解的问题

89
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旧题说是面壁九年的达摩祖师所写

90
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不过后来敦煌出土的一批古写本

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让不少学者更倾向于认为

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它出自另一位同样重要的禅师神秀

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这桩公案学界至今没有定论

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我倒觉得

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这恰恰是这部论最好的注脚

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字里的洞见

97
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从来不需要靠一个响亮的作者名字来撑腰

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论中开篇就问

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若有人真心想求道

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修什么法最省要

101
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答案就四个字

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观心一法

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总摄诸法

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最为省要

105
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翻成大白话就是

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天下法门千万种

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只要看住这一颗心

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其他的全在里头了

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接着打了个比方

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心是根

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一切法都是从这根上长出的枝条 花朵 果实

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根壮

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枝叶自然茂盛

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花也开得艳

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根枯了

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你在枝头上再怎么绑花 缠彩带

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风一吹照样掉

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论里花了很大篇幅戳破当时人一个普遍的执念

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以为造庙 抄经 供养这些看得见的功德才是修行

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话说得很不客气

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这些人不懂道理

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从不往心里下功夫

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只知道往外求

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绕着塔一圈圈走

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走到筋疲力尽

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这颗真心一点好处都没沾上

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一千多年后

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把庙换成画室

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经卷换成画册

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这句话竟然还成立

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技法 流派 风格 名家头衔

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本身没有错

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就像造庙抄经本身也没错

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错的是

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一旦它们从心显现的痕迹

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变成了心要去讨好 追逐的对象

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就成了论里说的那个 相

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越往这些相里钻

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本我反而越薄

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论里还有段话讲得极妙

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把布施 持戒 忍辱 精进 禅定 智慧这六度

142
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统统解成了对付六贼的功夫

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眼睛贪恋美色

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能不追

145
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就是布施

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耳朵贪恋声音

147
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能不纵

148
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就是持戒

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一路到意根贪着妄念

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能常照常醒

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就是智慧

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它把六种向外求的功德

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全部收回到心的几个入口上

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收回到自己身上来修

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放到书画上也是同理

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临不临某家某派

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用不用某种技法

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都只是外相层面的选择

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本身没有高下之分

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真正决定一张纸有没有分量的

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是你落笔那一刻

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那颗心到底有没有被外面的名相牵着走

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具体怎么看守这颗心

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论里的方法其实很朴素

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随时觉察起心动念的那一刻

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你到底是在模仿别人

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还是在表达自己

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这种觉察不必非得盘腿打坐

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提笔的一瞬间随时可做

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临摹一家笔法时

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觉察一下

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你是想借这支笔把心里那点感觉画出来

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还是只想让别人一看就认出这是谁的路子

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前者

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笔墨是筏

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你在过河

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后者

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筏子还没上

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你已经先爱上了船票

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这条路

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前人早就走过

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弘一法师俗名李叔同

183
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出家前是那个年代最顶尖的艺术全才

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音乐 话剧 绘画 篆刻样样精通

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那时他写魏碑

186
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方正刚硬 锋芒毕露

187
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一笔一划都在告诉别人自己功力深厚

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一九一八年在杭州虎跑寺剃度后

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从此换了个人生

190
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出家以后

191
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锋芒一点点褪去

192
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晚年的字瘦 淡

193
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甚至有点像小孩子写的

194
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力道全收在了里头

195
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他自己形容那种字是平淡 恬静 冲逸之致

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要说这是技法退步

197
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恰恰相反

198
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他是把向外证明自己这口气一点点放下了

199
00:07:04,354 --> 00:07:04,970
字

200
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只是这口气松开后自然留下的脚印

201
00:07:08,124 --> 00:07:10,946
日本江户时代有位禅僧叫良宽

202
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自号大愚

203
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一辈子安贫

204
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住在越后国一间四面漏风的草庵里

205
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不结交权贵

206
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也不应酬

207
00:07:18,924 --> 00:07:19,846
他的字写得怪

208
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不合规矩

209
00:07:20,963 --> 00:07:22,066
歪歪扭扭

210
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行家看着直摇头

211
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可偏偏最打动人心

212
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他这辈子最讨厌那种一看就是书法家写出来的字

213
00:07:29,924 --> 00:07:33,586
那种字里全是我要写得像个书法家的那股用力

214
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他不追那个

215
00:07:34,924 --> 00:07:37,667
字里才留出了一份孩子才有的天真

216
00:07:38,551 --> 00:07:40,314
云南有位和尚叫担当

217
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俗姓唐

218
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本名唐泰

219
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年轻时科考不第

220
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拜在董其昌门下学画

221
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一身好手艺

222
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明朝亡后

223
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五十多岁的他出了家

224
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长年住在鸡足山 感通寺一带

225
00:07:54,272 --> 00:07:55,554
画了半辈子山水

226
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笔法越画越简

227
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简到最后几乎什么都不画

228
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他曾在画上题过一句话

229
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若有一笔是画也

230
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非画

231
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若无一笔是画

232
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亦非画

233
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这话拗口

234
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意思却很直白

235
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执着于这一笔画得像不像画

236
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已经错了

237
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连一笔都不敢下

238
00:08:14,978 --> 00:08:16,161
也一样是错

239
00:08:16,538 --> 00:08:18,101
他还题过一句更直接的

240
00:08:18,538 --> 00:08:19,760
画中无禅

241
00:08:19,817 --> 00:08:21,161
惟画通禅

242
00:08:21,457 --> 00:08:22,880
画本身没有禅

243
00:08:22,978 --> 00:08:25,216
画只是一条通向禅的路

244
00:08:25,218 --> 00:08:26,240
不是终点

245
00:08:27,323 --> 00:08:30,027
元朝的倪云林是元四家之一

246
00:08:30,124 --> 00:08:31,386
性子有洁癖

247
00:08:31,443 --> 00:08:32,706
出了名的讲究

248
00:08:32,883 --> 00:08:34,323
据说客人走后

249
00:08:34,323 --> 00:08:36,626
他要把坐过的地方擦好几遍

250
00:08:36,723 --> 00:08:40,547
连院子里的梧桐树都要命人时时刻刻洗干净

251
00:08:40,724 --> 00:08:41,606
画画也一样

252
00:08:42,004 --> 00:08:43,826
笔墨极简 极淡

253
00:08:43,883 --> 00:08:45,066
大片留白

254
00:08:45,324 --> 00:08:46,167
他有句名言

255
00:08:46,643 --> 00:08:47,842
逸笔草草

256
00:08:47,844 --> 00:08:48,767
不求形似

257
00:08:49,084 --> 00:08:50,387
聊以自娱耳

258
00:08:51,185 --> 00:08:52,827
后人说得好像他很懒

259
00:08:53,144 --> 00:08:54,767
其实恰恰相反

260
00:08:54,905 --> 00:08:57,708
一个连桐树都要天天洗的人怎么可能懒

261
00:08:58,384 --> 00:08:59,187
他画竹子

262
00:08:59,465 --> 00:09:01,888
画的从来不是竹子像不像

263
00:09:02,065 --> 00:09:05,567
只是胸中那口气借笔墨写出来而已

264
00:09:05,744 --> 00:09:08,008
那份洁癖和极简画风

265
00:09:08,024 --> 00:09:11,767
其实是同一颗心往两个方向长出的枝条

266
00:09:12,309 --> 00:09:14,232
这四个人风格天差地别

267
00:09:14,709 --> 00:09:15,771
一位清瘦

268
00:09:15,829 --> 00:09:16,852
一位稚拙

269
00:09:16,949 --> 00:09:17,752
一位荒率

270
00:09:18,029 --> 00:09:19,011
一位极简

271
00:09:19,268 --> 00:09:22,352
可他们迹相形成背后的推力一模一样

272
00:09:22,709 --> 00:09:25,011
不是先定风格再填内容

273
00:09:25,029 --> 00:09:26,891
而是心先到了某处

274
00:09:26,949 --> 00:09:30,171
字画只是那颗心路过时留下的影子

275
00:09:31,185 --> 00:09:32,849
从唯识学角度看

276
00:09:32,945 --> 00:09:36,488
咱们频道讲唯识的时候详细拆过这个机制

277
00:09:36,705 --> 00:09:38,608
我们心里有个末那识

278
00:09:38,705 --> 00:09:41,669
工作就是一天二十四小时不停地认领

279
00:09:41,985 --> 00:09:42,669
这是我的

280
00:09:42,786 --> 00:09:43,849
那也是我的

281
00:09:44,026 --> 00:09:46,969
风格恰恰是它最喜欢认领的对象

282
00:09:47,026 --> 00:09:50,248
因为风格看得见 摸得着 卖得出去

283
00:09:50,426 --> 00:09:53,528
比一句抽象的我很有才华实在得多

284
00:09:53,746 --> 00:09:55,825
只要说得出这是我的风格

285
00:09:55,825 --> 00:09:58,809
末那识就找到了一个体面的落脚点

286
00:09:59,146 --> 00:10:01,584
可越死死攥住这个落脚点

287
00:10:01,585 --> 00:10:05,248
那颗真正在观察 感受 落笔的心

288
00:10:05,305 --> 00:10:08,408
反而被我的风格这个标签裹得越紧

289
00:10:09,265 --> 00:10:11,649
这套机制不只发生在书画圈

290
00:10:11,986 --> 00:10:15,009
这些年我看过太多创业者 品牌

291
00:10:15,025 --> 00:10:16,729
也见过不少投资人自己

292
00:10:17,025 --> 00:10:18,649
都在这个坑里打转

293
00:10:18,986 --> 00:10:21,188
大家嘴上说的都是差异化定位

294
00:10:21,505 --> 00:10:23,968
打造个人标签 建立护城河

295
00:10:24,226 --> 00:10:27,328
听着跟风格 流派其实是一个意思

296
00:10:27,905 --> 00:10:30,424
有的创始人确实把人设立住了

297
00:10:30,426 --> 00:10:31,729
市场记住了他

298
00:10:31,865 --> 00:10:34,649
可公司这个本体反而越做越空

299
00:10:35,066 --> 00:10:36,229
人设立起来了

300
00:10:36,426 --> 00:10:37,688
人却不见了

301
00:10:37,946 --> 00:10:40,328
如果你也在经营一件长期的事

302
00:10:40,426 --> 00:10:43,009
听到这里后背可能会有点发凉

303
00:10:43,457 --> 00:10:43,981
说实话

304
00:10:44,378 --> 00:10:45,961
我自己做这个频道

305
00:10:46,018 --> 00:10:48,361
天天都在跟这个诱惑打交道

306
00:10:48,737 --> 00:10:51,920
观众记住的是一个叫王利杰的人设

307
00:10:52,058 --> 00:10:54,920
一套讲佛学 讲认知的风格

308
00:10:55,298 --> 00:10:57,721
这个风格用得好是工具

309
00:10:57,857 --> 00:11:01,201
能把想说的话更有效送到你耳朵里

310
00:11:01,617 --> 00:11:04,561
可一旦我开始为了维护人设而说话

311
00:11:04,737 --> 00:11:07,201
为了不让观众失望而选题

312
00:11:07,577 --> 00:11:10,160
人设就从工具变成了主人

313
00:11:10,378 --> 00:11:14,361
我这个真实的人反而要看它脸色过日子了

314
00:11:14,625 --> 00:11:16,487
这不是书画圈的专属病

315
00:11:16,745 --> 00:11:20,607
任何一件事一旦被建制化 市场化 专业化

316
00:11:20,664 --> 00:11:22,847
几乎注定要经历这道坎

317
00:11:23,025 --> 00:11:23,908
学术圈会有

318
00:11:24,225 --> 00:11:25,343
商业圈会有

319
00:11:25,345 --> 00:11:25,867
说实话

320
00:11:26,184 --> 00:11:28,048
修行圈也一样会有

321
00:11:28,304 --> 00:11:31,607
立宗立派本身也可能变成新的一层相

322
00:11:31,904 --> 00:11:34,028
破相论 最狠的地方就在这里

323
00:11:34,345 --> 00:11:36,823
连修行这件事本身都不放过

324
00:11:36,824 --> 00:11:37,808
一样要破

325
00:11:38,361 --> 00:11:40,263
回到这位给我写信的老人

326
00:11:40,641 --> 00:11:42,824
他说这几年几乎闭门谢客

327
00:11:43,001 --> 00:11:45,263
进入一种近乎参禅的状态

328
00:11:45,521 --> 00:11:49,904
传统技法 流派 风格不再是他追求的终点

329
00:11:50,001 --> 00:11:51,583
反而成了一种启示

330
00:11:51,800 --> 00:11:56,223
他不是在模仿弘一 良宽 担当 倪云林

331
00:11:56,280 --> 00:11:57,863
这几位前人的样子

332
00:11:57,881 --> 00:12:00,503
而是透过他们迹相形成的过程

333
00:12:00,560 --> 00:12:03,263
回头看那股藏在背后的推力

334
00:12:03,481 --> 00:12:05,944
他说没有现成的理论框架可以套

335
00:12:06,080 --> 00:12:08,040
这个探索既让他兴奋

336
00:12:08,040 --> 00:12:09,223
又让他痛苦

337
00:12:09,832 --> 00:12:11,655
我很理解这种痛苦

338
00:12:12,031 --> 00:12:14,734
破相从来不是一次性完成的动作

339
00:12:15,071 --> 00:12:17,494
今天破掉了 要形成风格 这个相

340
00:12:17,551 --> 00:12:19,734
明天很可能长出一个新相

341
00:12:19,752 --> 00:12:21,915
叫 我是那个不追求风格的人

342
00:12:22,551 --> 00:12:24,035
这个坑比前一个还深

343
00:12:24,352 --> 00:12:25,511
因为它更隐蔽

344
00:12:25,512 --> 00:12:27,295
也更值得拿出来炫耀

345
00:12:28,174 --> 00:12:29,376
再看他信里那句话

346
00:12:29,733 --> 00:12:30,612
读者少了

347
00:12:30,613 --> 00:12:31,597
反而高兴

348
00:12:31,774 --> 00:12:33,236
我现在算是懂了

349
00:12:33,414 --> 00:12:34,016
观众多

350
00:12:34,374 --> 00:12:36,477
不一定是心传出去的证据

351
00:12:36,534 --> 00:12:39,236
很多时候只是相讨好了更多人

352
00:12:39,494 --> 00:12:40,057
观众少

353
00:12:40,374 --> 00:12:42,236
也未必是心传得不远

354
00:12:42,294 --> 00:12:45,797
很可能是这一次他终于没在讨好任何人

355
00:12:45,813 --> 00:12:49,077
只是老老实实把心里那点东西画了出来

356
00:12:49,333 --> 00:12:52,557
这种少跟质量下降的少完全是两码事

357
00:12:52,774 --> 00:12:54,496
前者是筏子造窄了

358
00:12:54,733 --> 00:12:56,212
能载的人变少了

359
00:12:56,213 --> 00:12:59,597
可船上坐着的都是真被这颗心打动的人

360
00:12:59,893 --> 00:13:00,257
所以

361
00:13:00,573 --> 00:13:02,096
笔墨到底有没有本性

362
00:13:02,573 --> 00:13:03,657
我自己的体会是

363
00:13:03,974 --> 00:13:06,157
笔墨从来没有独立的本性

364
00:13:06,214 --> 00:13:08,637
它的本性就是握着笔的那颗心

365
00:13:08,773 --> 00:13:09,496
心在哪里

366
00:13:09,734 --> 00:13:11,316
笔墨的性就在哪里

367
00:13:11,374 --> 00:13:15,253
要是去找一个脱离了心 单独存在的笔墨本性

368
00:13:15,254 --> 00:13:17,797
就跟绕着塔求功德是一回事

369
00:13:17,854 --> 00:13:19,836
方向从一开始就错了

370
00:13:20,542 --> 00:13:23,444
这个问题不止是问给搞书画的人听的

371
00:13:23,542 --> 00:13:25,020
你这些年打磨的东西

372
00:13:25,022 --> 00:13:27,380
不管是一门手艺 一份事业

373
00:13:27,381 --> 00:13:29,845
还是一个在朋友圈里维持的人设

374
00:13:29,902 --> 00:13:33,804
你捂在手心里最珍惜的那个风格 那个与众不同

375
00:13:33,861 --> 00:13:36,341
到底是你心自然流出的影子

376
00:13:36,341 --> 00:13:38,705
还是拿来证明自己存在过的一个相

377
00:13:39,542 --> 00:13:41,140
这个问题我没有答案

378
00:13:41,141 --> 00:13:43,164
留给你自己坐下来慢慢想

379
00:13:43,788 --> 00:13:44,390
你怎么看

380
00:13:44,827 --> 00:13:47,050
欢迎在评论区说说你的想法

381
00:13:47,268 --> 00:13:47,991
我是王利杰

382
00:13:48,227 --> 00:13:49,530
我们下期见