顧愷之

Chinese

顧愷之

顧愷之（348–409），字長康，小名虎頭，晉陵無錫（今江蘇省無錫市）人，漢族。他是東晉時期傑出的畫家、藝術理論家和詩人，後世尊稱為「中國畫祖」和「山水畫祖」。他與曹不興、陸探微、張僧繇並稱為「六朝四大家」。 顧愷之出身於南方士族家庭。早年，他擔任桓溫和殷仲堪的參軍，義熙年間，升任通直散騎常侍。他曾為劉裕北伐南燕撰寫《牙帳頌》。他學識淵博，多才多藝，擅長詩歌、散文和書法，尤精於繪畫。當時他以「三絕」聞名：才絕、畫絕、癡絕。著名學者謝安曾評價他的藝術成就為「蒼生以來未之有也」。 顧愷之主張「傳神寫照，正在阿堵中」的繪畫理念，強調通過眼睛的細微細節和微妙的生理特徵來捕捉人物的神韻。在為裴楷畫像時，他甚至在臉頰上添了三根細毛，使觀者立刻感受到生動的神采。他的筆法細膩，線條如春蠶吐絲般堅勁連綿，與陸探微並稱「顧陸」，屬於「密體」，與張僧繇、吳道子所代表的「疏體」相對。 Gu Kaizhi broke with the Han dynasty tradition of painting primarily to promote moral values, expanding the scope of figure painting by emphasizing scholars' words, demeanor, and spirit, thereby broadening the artistic vision of traditional painting. He left behind three treatises on painting: "On Painting," "Appreciation of Wei and Jin Master Works," and "Record of Painting Yuntai Mountain," putting forward core ideas like 'moving thought to marvelous perception' and 'capturing spirit through form,' which laid an important theoretical foundation for the development of traditional Chinese painting. Gu Kaizhi's work covered a wide range of subjects, but all surviving works are later copies, with the most representative being "Nymph of the Luo River," "Admonitions of the Court Ladies," and "Carving the Qin." "Nymph of the Luo River," adapted from Cao Zhi's famous poem, is one of China's ten greatest surviving paintings; the Tang dynasty copy of "Admonitions of the Court Ladies" was originally kept in the Qing palace, looted by the British army in 1900, and is now in the British Museum, with a Southern Song copy held in the Palace Museum in Beijing. 顧愷之的藝術地位自唐代以來便得到廣泛認可。藝術史學家張懷瓘曾評論道：「張僧繇得其肉，陸探微得其骨，顧愷之得其神。」他的創作理念與風格成為經典，深刻影響了中國畫的發展。

Artworks by this artist