顾恺之画论释读

Paraphrasing and Comment on Gu Kaizhi’s Painting Theories

魏晋南北朝继承和发扬了汉代绘画艺术,呈现出丰富多彩的面貌。出现了专业画家,绘画创作呈现繁荣的景象,一时人才辈出。顾恺之以其高超的绘画技能和他本人相当的文化素养及超凡脱俗的气质成为东晋最伟大的绘画理论家。他在绘画中有意识地介入了文人士大夫的人格情操和审美情趣,并提出了"传神论",成为我国最早较完备的绘画理论。它已经较全面地接触到中国绘画的艺术规律,影响深远。其后由人物画领域发展到山水画、花鸟画等领域,一直推动着中国历代绘画的发展,促进中国绘画独特民族风格的形成,渐渐拉开了早期中国文人画理论的历史序幕。

During the period of the Wei Kingdom, the Jin Dynasty, and the Southern and Northern Dynasties （220-589 A.D.）, the painting art of the Han Dynasty was well inherited and carried forward, which took on rich and colorful visage. There arose professional painters and painting creations also became flourishing, churning out a myriad of outstanding talents. Gu Kaizhi stood out prominently as the greatest painting theorist in the Eastern Jin Dynasty for his distinguished painting skills, his considerable cultural attainment and his detached temperament. He consciously blended his paintings with the personal sentiment and aesthetic taste of literati and scholar-bureaucrats. Besides, he brought forward the ＂spirit-resonance＂ theory, the earliest and relatively mature painting theory in ancient China which had already touched upon the artistic laws of Chinese paintings, exerting far-reaching influence on posterity. Later on, he transferred from the realm of Chinese figure painting to that of landscape painting, flower-and-bird painting, etc. His theories had always been pushing forward the development of Chinese painting in successive dynasties, and accelerating the formation of the unique style of traditional Chinese painting, which raised the curtain on the painting theory of Chinese literati.