《指头画说》是指画宗师高其佩裔孙高秉于乾隆三十六年(1771)写成的一卷画论。其以笔记的形式详述了指头画派创始人高其佩指头画的运指、用墨、蘸色、渲染等方法,并记录其用纸、印章、题款、渲染等诸特点,亦记载了一些关于高氏的生平轶事及传闻。高秉根据三十多年耳闻目记,心摹手追,悉数家珍倾箧以出地阐明高氏何以废笔用指,开创出全新的中国画表现技法。“绘事后素其如示诸斯”是高其佩指头画中钤印过的一方闲章,追溯其真正的内涵是崇尚自然。透过《指头画说》可以了解到,“绘事后素”是高其佩美学思想的核心,他在指画上的一切成就与建树,都是自觉不自觉地由“绘事后素”的感召而获得。在三百多年前的清代画坛,于“个中人徒叹难,门外汉惟诧奇异”中,高氏“独步”指画绘事,以广博的见识,收发自如的精神勘透此关,揭示出“指墨之无痕处,尤本于自然”的真谛。本文试从几个不同的角度对高其佩的美学思想做初步的探究与分析。 “Finger painting” refers to a scroll painting theory written by Master Gao Qipei from Sun Gaobing thirty-six years of Qianlong (1771). In the form of a note, he details the fingering by Gao Qipei, the founder of the finger painting school, using such methods as ink, dipped in color and rendering, and records the characteristics of his paper, seal, inscription and rendering as well as records Some anecdotes and rumors about Gao’s life. According to more than thirty years, Gao Bing, based on more than thirty years’ experience of hearing and remembering things, traces his life and clarifies Gao’s why he neglected to use his fingers to create a brand new performance technique of Chinese painting. “After the painting as a matter of fact” is a piece of loose stamp printed by Gao Qipei in his finger painting. Tracing back to its true connotation is the respect for nature. Through the “finger painting”, we can understand that “painting after the prime” is the core of Gao Qipei’s aesthetic thoughts. All his accomplishments and achievements in finger painting are consciously and unconsciously “ ”The call and get. In the painting circles of the Qing Dynasty more than 300 years ago, in Gaoshi’s unique painting and painting, in “a person who sighs, but the stranger surprised” This off, reveals “refers to the ink at the mark, especially in nature,” the true meaning. This article tries to make a preliminary exploration and analysis of Gao Qipei’s aesthetic thoughts from several different perspectives.