顾恺之不仅是我国古代的伟大画家,也是中国画论的伟大建树者,他的“以形写神”的理论,长久以来深刻地影响着中国美术的发展,并成为中国文艺创作中最基本的,也是最重要的一条美学原则。可是,在他的《魏晋胜流画赞》中,一段有关“以形写神”的结论却十分费解: 凡生人亡有手揖,眼视而前亡所对者。以形写神而空其实对,苍生之用乖,传神之趋失矣。空其实对则大失,对而不正则小失,不可不察也。一像之明昧,不若悟对之通神也。 对以上文字应如何诠释,实关系到“以形写神”的本原与究竟,以及我们理解与把握的是否正确。这个问题,很久以来就有不少人在关心,在研究,他们为搞清楚和弄明白它的实质,一直孜孜以求,不懈努力,令后来者肃然起敬。而这里最关键的是,该如何解释“生人”,“空其实对”和“荃生之用乖”这三处。今将本人拙见陈述如下,愿与大家商榷: 一、把“生人”释为:“生(活)人的动作”,“正活动着的人”,“活生生的人”和“活的人”,这在大多情况下皆没有错, Gu Kaizhi is not only a great painter in ancient China but also a great contributor to the theory of Chinese painting. His theory of “describing God by writing” has long influenced the development of Chinese fine arts and has become the most basic of Chinese literary creation as well. One of the most important aesthetic principles. However, in his “Wei Jin Shengshua Zanzi”, a conclusion about “describing God” is quite puzzling: those who are born with mortal beasts and those who see themselves before their deaths. In fact, empty-shaped to describe God, the common people with the good, vividly the temptation to carry on. In fact, the big empty on the big loss, but not a small loss, must be aware of also. Like a clear ignorance, if Wu Wu of God also. How the above text should be interpreted is really related to the essence of “writing God” and whether we understand and grasp it correctly. This problem has long been concerned and studied by many people. They have been diligently working hard to find out and understand its essence. And the most crucial point here is how to explain the “stranger”, “empty actually” and “good use of students” three. I will present my humble opinion as follows, is willing to discuss with you: First, the “stranger” as: “life (live) action”, “is moving people”, “living people” and “living people ”This is not wrong in most cases,