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本文系对新时期以来涉及顾恺之画论的主要美术史论著述版本的梳理和对“以形写神”原典(《论画》的“几句重要的结束语”)不同的注译解读与研究之得失的考辨,以及对作为顾恺之画论核心绘画观的这一原典之本义与本质的探讨;指出作为中国最早独立画论的顾恺之画论的根本,仍然没有离开对现实总体的唯物主义的观照态度,占据第一位的仍然是对外部现实保持的那种从物到心、从形到神的写实主义艺术精神。
This essay is a review of the major art historiography versions of Gu Kaizhi’s paintings since the new period and the different interpretations of the original version of “Describing God” (“Some Important Conclusion” of “Thesis”) The exploration of the pros and cons of interpretation and research, and the exploration of the original meaning and essence of Gu Yuan’s painting as the core concept of painting by Gu Kaizhi; pointing out that the fundamental of Gu Kaizhi’s painting theory as the earliest independent painting theory in China still does not leave the reality Materialistic attitude of taking the first place is still the realistic spirit of realism from the material to the heart and from the form to the reality maintained by the external reality.