“气韵生动”系“六法”中的一法,为中国古典绘画理论的核心问题。自六朝谢赫提出后,为历代的画家和画论家们所注意。他们根据各自的审美观点,对其作这样那样的阐述。这是一件很有意义的事情。弄清“气韵生动”的实质,对发展我国传统绘画美学理论,指导现代的绘画创作,无疑是重要的。本文并不打算全面探讨从顾恺之到近代黄宾虹、潘天寿等人的所有理论,只想截取从谢赫到宋代的郭若虚,提出自己的若干观点。《古画品录》开头就说:“虽画有六法,罕能尽 ”Vivid style “ Department ”six methods “ in a law for the Chinese classical painting theory of the core issues. Since the rise of Xiehe in the Six Dynasties, attention has been paid to painters and theorists of all ages. According to their own aesthetic point of view, they make such a statement. This is a very meaningful thing. It is undoubtedly important to clarify the essence of ”vivid style“ and to develop our traditional aesthetic theory of painting and direct modern painting. This article does not intend to comprehensively discuss all the theories from Gu Kaizhi to modern Huang Binhong and Pan Tianshou and others, and just wants to intercept Guo Ruoxu from Xiehe to Song Dynasty and put forward some opinions of his own. ”Ancient Pictorial Record“ at the beginning said: ”Although there are six methods, rarely do