从顾恺之到陈老莲——论工笔人物画从客体出发的意象表现到主体意识的自觉

From Gukaizhi to Chenlaolian. -an essay on the forms of imagery of "Gongbi" figure painting ,from the starting point of object to the consciousness of subject.

中国画追求意象表现,写意画如此,工笔画依然;本文就工笔人物画发展过程中意象表现的不同形态展开分析,从早期的顾恺之到后来的陈 老莲,通过对他们的作品分析指出中国传统工笔人物画的意象发展过程是:从客体出发的意象表现到主体意识的自觉的过程,在这个过程中画家自我 的主体意识逐渐地在得到突出和表现。

Chinese painting is pursuing the form of imagery, so is 'xieyi' painting and 'Gongbi' painting. This essay analyses from the different forms of imagery in the 'Gongbi' figure painting development, from early Gukaizhi to late Chenlaolian. By analyzing their paintings, we get to know the course of expressing imagery in Chinese traditional 'Gongbi' figure painting : the course of expressing imagery from the starting point of consciousness of object to subject. It is in this course that the painter's consciousness of subject can be expressed smoothly and completely.