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顾恺之作为魏晋时期一代画圣,首在画史中提出人物画的根本要求在于“传神”,而“传神”的关键核心取决于对象眼睛的描绘;“传神论”的提出开创了中国古代艺术理论研究的领域,被后世画家广为继承,乃至在恺之身后一千四百年的清代写像名家丁皋仍津津乐道,“眼为一身之日月,五内之精华。非徒袭其迹,务在得其神。神得则呼之欲下,神失则不知何人;所谓传神在阿堵间也”。但苏轼文集中有篇《传神记》(又名《书程怀立传神》)。这里面包藏有很丰富的多层次的绘画思想,似乎仍有再加讨论的价值。全文录下:传神之难在于目。顾虎头云:“传神写照,都在阿堵中。”其次在
Gu Kaizhi, as the first generation of painting in the Wei and Jin Dynasties, first put forward the essential requirement of figure painting in the history of painting is “expressiveness”, while the key of “expressiveness” depends on the depiction of the eyes of the object; “theism” proposed the creation of ancient Chinese art The field of theoretical research is widely inherited by later painters, and even in the Qing Dynasty 1400 years after the famous writer Ding Gao still relish, “the eyes of a sun and the moon, the essence of five. Traces, in the deeds of God. God is the desires of God, but I do not know who lost; the so-called vivid in A block between the ”. However, there is an article in Sushi’s anthology “Expressing the Mind” (aka “The Booklet Expressing the Spirit”). There is a wealth of multi-level painting ideas here, and there seems to be added value for discussion. The full text recorded: the problem lies in the expressive. Gu Tou Touyun: “vivid portrayal, all in A block.” Followed by