本文通過蘇軾《淨因院晝記》，對文同竹畫之讚譽，所引申出「常形」與「常理」之形神論， 及文人晝系中對於自然萬物觀照1之應對態度等命題之闡述，予以詮釋與定位。
《淨因院晝記》為蘇軾形神範疇論中，有關「理」之命題所予以論述代表之一。蘇軾以「常形」 與「無常形j具體分述題材，其中「常理」最為重要論述，體現出蘇軾在文藝理念中之美學趣味與
意識。
本文將蘇軾「常理」論述分置於宋朝當下情境來探討，及對後世之影響，並探究元、明、清及 民初時代，對於自然萬物應對之流變，希冀能得以透過共時性之自然觀照論述，使該古典性論述得 以轉化成現代創作精神，因此為週全蘇軾「常理」論述，除了《淨因院晝記》外，同時也透過蘇軾 對於文同晝竹有關文獻進行比對與旁證，如有關「理」與「常形」間得失關聯性、文人體系特質與 形成等論述，希冀週全蘇軾「常理」論述。
另外論及有關「常理」論述下所產生「變異」樣態之晝史現象，本文則避開了西方繪晝體系所 慣稱「變形主義」（Style-Transformation) —詞，係因水墨晝史中「變異」樣態，自有其創作者 之生命面向，或晝史面對之對應，或本文通過蘇軾《淨因院晝記》，對文同竹畫之讚譽，所引申出「常形」與「常理」之形神論， 及文人晝系中對於自然萬物觀照1之應對態度等命題之闡述，予以詮釋與定位。
《淨因院晝記》為蘇軾形神範疇論中，有關「理」之命題所予以論述代表之一。蘇軾以「常形」 與「無常形j具體分述題材，其中「常理」最為重要論述，體現出蘇軾在文藝理念中之美學趣味與
意識。
本文將蘇軾「常理」論述分置於宋朝當下情境來探討，及對後世之影響，並探究元、明、清及 民初時代，對於自然萬物應對之流變，希冀能得以透過共時性之自然觀照論述，使該古典性論述得 以轉化成現代創作精神，因此為週全蘇軾「常理」論述，除了《淨因院晝記》外，同時也透過蘇軾 對於文同晝竹有關文獻進行比對與旁證，如有關「理」與「常形」間得失關聯性、文人體系特質與 形成等論述，希冀週全蘇軾「常理」論述。
另外論及有關「常理」論述下所產生「變異」樣態之晝史現象，本文則避開了西方繪晝體系所 慣稱「變形主義」（Style-Transformation) —詞，係因水墨晝史中「變異」樣態，自有其創作者 之生命面向，或晝史面對之對應，或其底蘊特質，與西方繪晝體系存在著不同藝術生態、歷史現象 與論述表達等等之差異性，故而為還諸於自身歷史意識，本文以宋代劉道醇於《宋朝名晝評》中「變 異合理」詞彙中擷取「變異」二字，作為闡述晝史現象中該特有之論述，相信除了可區隔出西方「變 形主義」所含之要義，亦可呼應出晝史中「變異」樣態所主張之意欲，與流變特徵之連結；最後藉 陳師曾《文人晝之價值》一文，作為文人晝系中「常理」擷取，與「變異」樣式之流變效應，予以 連結，以作為論述總結，希冀使「常理」論述能亙古亙今，條貫時代脈絡，為今所知。

The bounded relationship and development between” literati painting school” and the article of Jinq-In temple by Shih Shyh on “normal rule “
Author, using the explanations of “theory-form and expression” and “literati painting school” subjects which can be concluded in the praise to Wen Tomg’s bamboo paintings in the article The Article of Jinq-In temple by Shih Shyh, intent to pursue and induce the reflection attitudes of literati painting school towards all nature matters in the painting history, furthermore, to interpret and to position the above attitudes.
Shih Shyh’s “The Article of Jinq-In temple” is one of the representative works of “principle” ideas in the “theory-form and expression” fields. In “The Article of Jinq-In temple” article, Shih Shyh’s the ideas of “normal form” and “non-normal form” are concretely specified the painting subjects and among them, the “normal rule” idea is the most important idea discussed through Shih Shyh’s article.
Author puts Shih Shyh’s the ideas of “normal rule” to be discussed under the “The Sung Dynasty” dynasty social environment and sees how it influenced the society in later days, moreover, with the hope to transform the classic statement into modem creation sprits abstracted from timeless nature truth author- also discusses the changes and trends in “The Yuan Dynasty” “The Ming Dynasty” “The Ch’ing Dynasty“” each dynasty and in the early present government days. In order to improve the Shih Shyh’s the idea of “normal rule”，besides “The Article of Jinq-In temple” article, using Shih Shyh’s Wen Torng bamboo paintings etc., some other documents author verifies the inter-relationships between “principle” and “normal form” and compares the characteristics in literati and its fable presentations.
This reason why author here tries to avoid the Western Painting System “Style -Transformation”
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超越「常形」之外攫取「常理」於内一論蘇軾「常理」論述與文人晝系之聯結關係與發展
term is because that “become deformed” in Chinese Ink Paintings the artist has his own life aspect which is totally different from Western Painting System in the art environment, history and presentation. Using the term “become deformed”，which diverts from” reasonable- deformed”-- one term by “Liou Daw Chwen”，author believes not only it can present the special phenomena in painting history，separating the Western “Style -Transformation” but also it can interpret the relationship bounds between the concept of “become deformed” in painting history and characteristic changes in trends. In the end，author comments to literati painting school the phenomena in trends using the works of “Value of literati painting school”
by Chern Shy Tzeng and that of “become deformed” in trends for conclusion, with the on “normal rule” to be known through time, from past to now, even in times to come.