【摘要】：本文系對新時期以來涉及顧愷之畫論的主要美術(shù)史論著述版本的梳理和對"以形寫神"原典(《論畫》的"幾句重要的結(jié)束語")不同的注譯解讀與研究之得失的考辨,以及對作為顧愷之畫論核心繪畫觀的這一原典之本義與本質(zhì)的探討;指出作為中國最早獨(dú)立畫論的顧愷之畫論的根本,仍然沒有離開對現(xiàn)實(shí)總體的唯物主義的觀照態(tài)度,占據(jù)第一位的仍然是對外部現(xiàn)實(shí)保持的那種從物到心、從形到神的寫實(shí)主義藝術(shù)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.
【分類號】：J212

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