传神论的层次性和发展路径  

The Hierarchy and Development Path of Being Lifelike

作　　者：刘绽霞[1] Liu Zhanxia

机构地区：[1]广西艺术学院《艺术探索》编辑部,广西南宁530022

出　　处：《艺术探索》2022年第6期55-61,共7页Arts Exploration

摘　　要：传神论是贯穿于顾恺之绘画理论当中的核心思想,传神阿堵、悟对通神、以形写神、迁想妙得等是传神论统摄下几个不同层次和不同面向的内涵,核心是以形写神,形神并重。传神论在山水画理论中得到生发,同时强调画家的感悟和观者的共鸣。这一层次内涵为文人画所运用,使传神论随之转向了重神轻形、重主体轻对象的一端。受此影响,传统人物画一度造型功能减弱,创作程式化,创作理论僵化。明清以后写形理论重获发展,但大多着重在头脸部,在所传之“神”的内涵上,没有了顾恺之传神论丰富的层次性。Being lifelike is the key idea that runs in Gu Kaizhi’s painting theory. Painting approaches such as the lifelike painting, the eyes-centered painting, conveying spirit through shape, and perfect effect through imagination are the connotations of several different levels and different aspects of vividness, in which the point is to convey spirit in shape and pay equal attention to either of them. The theory arises in the theory of mountain and water painting, emphasizing both of the artist’s perception and the resonance of the viewer. This level of connotation was used in the literati painting, in which the theory to emphasize the spirit overtook that of the shape and the subject over the object. Influenced by this, the function of plastic art of traditional figure painting was once weakened, the creation was stylized, and the creation theory was monotonous. After the Ming and Qing dynasties, the theory of painting shapes redeveloped, but mostly focused on the head and face, and in the connotation of being lifelike, the hierarchy of being lifelike of Gu Kaizhi disappeared.

关 键 词：传神阿堵 悟对通神 以形写神 迁想妙得 

分 类 号：J212[艺术—美术]