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顾恺之“传神写照”的绘画理念是中国传统形神绘画理论中的一朵奇葩,被历代画家传袭发展。但是在发展演变的过程中人们对“传神写照”内涵的理解并非完全一致,也存在一些分歧,其实质便是“形与神之间的关系”的问题。不管是“重神轻形”还是“重形轻神”都是片面的,中国人物画的以形写神是建立在意象的造型观基础上的,没有主观意象的表现就不能更好的传神。正确而深刻的理解顾恺之关于人物绘画理论对于解决形与神之间的关系十分重要,对人物画发展的本质问题也具有十分重要的意义。
Gu Kaizhi “vivid portrayal ” painting concept is a wonderful work in the Chinese traditional god-shaped painting theory, which was passed on by successive generations of painters. However, in the process of development and evolution, people’s understanding of the connotation of “vivid portraiture” is not exactly the same, and there are still some differences. The essence is the question of “the relationship between form and god”. Whether it is “heavy light light ” or “light light God ” are one-sided, Chinese figure painting to describe God is based on the concept of the image of modeling, without the subjective expression of the image can not Better expressive. A Correct and Profound Understanding of Gu Kaizhi’s Theory of Figure Painting is of great importance to solving the relationship between form and god and is also of great significance to the essence of the development of figure painting.