四、以形写神西汉《淮南子》提出:“画西施之面,美而不可悦。观孟贲之目,大而不可畏,君形者亡焉。”意谓画西施的脸,美而不可爱,看孟贲眼晴大而不可怕,就是表现不出人物内在的精神。以形写神,首先是由东晋画家、绘画理论家顾恺之在《魏晋胜流画赞》中提出的。古代对于“形与神”的不同观照方式与角度,当时的顾恺之、宗炳、王微就分别代表了三种不同的倾向,他们都是主张“神”是至高的原则,但又体现出不同的论述主旨。顾恺之画论强调绘画以形写神,形在先,神在后,提倡重形;而宗炳的画论则体现出轻形的思想,他认为“以形写形”这种绘画活动本身应 Fourth, in order to describe the Western Han Dynasty, “Huainanzi” put forward: “painting the face of Shih Tzu, the United States and not pleasing. View Meng Ben’s goal, big and awesome, king-shaped death Yan.” And not cute, to see Meng Ben eye big but not terrible, is the performance of the inner spirit of the characters. To describe God, the first is from the Eastern Jin Dynasty painter, painting theorist Gu Kaizhi in “Wei Jin Shengshu paintings like” made. In ancient times, different ways and angles of “form and god” were observed. At that time, Gukai-zhi, Zong-bing, and Wang Wei each represented three different tendencies. All of them advocated that “God” is the supreme principle, But also reflects the different themes of discussion. Gu Kaizhi’s painting theory emphasizes painting to describe God, shape first, god behind, and advocates heavy form; while Zong Bing’s painting style reflects light-shaped thought. He believes that such a painting activity as “form” Itself should be