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顾恺之作为绘画理论与实践兼修的鼻祖,他明确提出绘画中传神的重要性。在中国历史上,有关“形”与“神”的哲学思考可以追溯到先秦时期。从顾恺之相关论述中看出,他所提出的“形”与“神”的主张与《庄子》中对形神关系寓言式的表述有着明显的内在渊源,顾恺之造型艺术中所强调的“传神”和庄子美学体系中的形上追求相吻合。由此中国古典画论中注重性灵上的提升,使得中国绘画逐渐走上一条完全不同于西方写实主义绘画风格而崇尚“写意”的文人画道路。
Gu Kaizhi as the originator of the theory and practice of painting, he clearly put forward the importance of vivid painting. In Chinese history, philosophical thinking about “form ” and “god ” can be traced back to the pre-Qin period. From the relevant discussion of Gu Kai, we can see that his propositions of “form” and “god” have obvious internal relations with the fable expression of the relationship between god and god in “Zhuangzi”. The emphasis of Gu Kai-zhi’s modeling art “Expressive” and Zhuangzi aesthetic system consistent with the pursuit of the shape. As a result, the emphasis on spirituality in Chinese classical painting has made Chinese painting gradually embark on a path of literati painting that is totally different from the realistic style of Western realism and advocating “freehand brushwork”.