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众所周知,顾恺之是中国人物肖像画史上的代表画家,他不仅提出了“传神写照”“形神兼备”的人物画理论,而且在绘画实践中不断总结前人之经验,开创新的造型方式。本文通过对顾恺之作品的结构方式与人物之间的空间关系研究,从而证明顾恺之“置陈布势”的构图概括,对中国人物肖像画构图及画面活动意识的多样化表现的深远影响。
As we all know, Gu Kaizhi is the representative painter in the history of portraits of Chinese portraits. He not only put forward the figure painting theory of “vivid portraiture” and “shape and spirit both”, but also constantly sum up the experience of predecessors in painting practice and create new shapes the way. By studying the relationship between the structure and the characters of Gu Kaizhi’s works, this paper proves that the composition of Gu Kaizhi’s compositional arrangement has a far-reaching impact on the diversification of Chinese portraits and picture activities.