长期以来,人们往往采用“知人论世”式的批评方法,研究渐江大师,把他视为新安画派主将。通过对近年来关于渐江身世论述的研究,大家可以发现,研究者所援引的证据,往往相互抵牾;所采取的论证,常常偏于执著;所得出的结论,恰恰难以自圆其说。其原因在于,仅仅截取渐江生前友好的只言片语,或者搜寻地方志的零散记述,试图臆测渐江的里居、入闽时间、佛家皈依,却忽视了渐江作为禅门弟子的生活主线。站在禅宗美学的立场上,采用“鉴赏应依‘无我法’,不作‘梦中说梦人’”的方式,批判既有研究成果,考查渐江的出家时间、佛门皈依、寄居场所,有助于渐江绘画艺术研究的视野转换,也有利于乡邦文化的发掘、整理和保护。 For a long time, people often adopt the criticism method of “knowing people and discussing the world” to study master Jiang Jian and regard him as the chief of Xin’an Painting School. Through the research on Jiang’s life experience in recent years, we can find that the evidences quoted by researchers tend to contradict each other. The arguments we take are often biased; the conclusion we got is just not easy to justify. The reason is that just intercepting the friendly phrase of former Jiang, or searching for scattered records of local chronicles, attempting to speculate on the hometown of Jianjiang, entering Fujian and converting the Buddhism, he neglected the main line of living of Jiang as disciple of Chanmen. Standing on the position of aesthetics of aesthetics, adopting the method of "Appreciation should be based on ’Without My Law’ and not as a ’Dreaming Man in a Dream’, we should criticize the existing research results, examine the time of graduation of Buddhism, the conversion of Buddhism, Place, help to divert the visual field of the study of Jiangjiang painting art, but also conducive to the excavation, collation and protection of the country-state culture.