「點染」，本指兩種繪圖手法，清、劉熙載《藝概》雖移「點染」用以專稱辭章作法，但他所謂的「點染」，指的乃是「情」（點）與「景」（染）」，恰與「虛實」章法家族中的「情景法」重疊；而且，歷來的傳統文論、詩話，也未對此作出全面而周延的探討。故本文由「點染」法出發，鎖定「四點染」為主題，在前人畫論裡尋得相關理論，並以東坡詞為例，絻合理論與實踐，深入探討章法中的「四點染」，與其所形成的「點中點」與「點中染」、「染中染」與「染中點」等部分呈現之類型，以及「四點染」整體呈現之類型。章法中的「四點染」，比較貼近於哲學層面中「一」與「多」的關係，用以分析辭章，不僅可清楚呈現辭章的邏輯層次，全篇經由「力」（勢）的變化，更能產生循環往復的節奏，然後再層層串聯而形成一篇韻律，以獲得「層次」、「節奏」（韻律）、「統一」的美感效果。

"Dian-ran" is two kinds of painting skills. In traditional text theory, poetics, we did not find out the overall study about this. The theme of the text is regard “four kinds of dian-ran”, and we can look for the theories in the paintings. Take the Dong-Po's Ci as an example to discuss "four kinds of dian-ran" in the organization of writing. The context of the "four kinds of dian-ran" is "adding point in the middle of the point", "adding point in the middle of the dye", "adding dye in the middle of the dye", "adding dye in the middle of the point" etc. The philosophical implications of "four kinds of dian-ran" is near to the relationsihp of "unitary" and "multiple". It not only appear the logic layer of the article, but also produce the circulating rhythm by the varieties of "power". Then the full rhythm can be established to get aesthetic impression of "layer", "rhythm", "unify".