新时期顾恺之画论研究得失考辨——关于“以形写神”原典的不同解读及其他
发布时间：2018-09-03 19:51
【摘要】：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。
[Abstract]:This article is a review of the main works of art history related to Gu Kaizhi's painting theory in the new period, and a textual study of the different notes, translations, gains and losses of the original book "Writing God in form" ("several important concluding remarks" of "on painting"). And to discuss the essence and essence of the original code as the core of Gu Kaizhi's painting theory, and to point out that the essence of Gu Kaizhi's painting theory, as the earliest independent painting theory in China, still has not left his materialistic attitude toward reality as a whole. The first place is still the realism art spirit from object to heart, form to god.
【分类号】：J212
[Abstract]:This article is a review of the main works of art history related to Gu Kaizhi's painting theory in the new period, and a textual study of the different notes, translations, gains and losses of the original book "Writing God in form" ("several important concluding remarks" of "on painting"). And to discuss the essence and essence of the original code as the core of Gu Kaizhi's painting theory, and to point out that the essence of Gu Kaizhi's painting theory, as the earliest independent painting theory in China, still has not left his materialistic attitude toward reality as a whole. The first place is still the realism art spirit from object to heart, form to god.
【分类号】：J212
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