Why is Gu Kaizhi a painter who writes gods in form?

Writing God in Form comes from Gu Kai's "Imitation of the Wonderful Law" of the Eastern Jin Dynasty

Eastern Jin Dynasty Gu Kaizhi's "Wei Jin Shengliu Painting Praise" cloud: "People have strengths and weaknesses, and now they are established far and near to pay attention to their right, but they cannot be changed and promoted, and they are misplaced." Whoever is alive and dies (none) has a hand and eyes and looks at the person who dies before, in order to write God and emptiness is actually right, the use of life is obedient, and the loss of conveying God.

In fact, if it is empty, it will be a big loss, and if it is not right, it will be a small loss, and it must not be ignored. The clarity of an image is not as clear as the understanding of the gods. Gu's famous argument of "depicting God in form" indicates that when reflecting objective reality, painters should not only pursue the realism of the external image, but also the similarity of the inner spiritual essence.

He believed that God should be based on form, and if it only resembled and did not reflect the unique spirit of the painting object, it would not be successful. For the depiction of the characters, he pays great attention to the consistency and complexity of the inner activities and expressions of the characters. Legend has it that he painted people, sometimes for several years without a sunny day, people asked why, answered:

The four-body Yan is nothing about the wonders, and the portrayal of the gods is in the middle of the block. Because "the gods see the appearance, and the emotions come from the eyes".

It's all from later generations, either it's full and has nothing to do, or it's a mixed meal, and if you paint well, you can paint well, why do you ask Gu Kaizhi Gu Kaizhi himself probably didn't know as well as them, people who paint and people who do research are completely two types of people.

Gu Kaizhi's painting method is most known to later generations as the "ancient gossamer drawing" in the Chinese painting line drawing technique, also known as the "spring silkworm silk drawing", and the works with this technique include "Luo Shen Fu Tu", "Female Shi Zhen Tu" and so on.

At the same time, some of Gu Kaizhi's works also have the characteristics of iron line drawing, and the gossamer drawing and iron line drawing both belong to the "dense body" style corresponding to the sparse body, and are listed as the two most famous of the eighteen strokes of Chinese painting, mainly reflected in the works of figures and flowers and birds.

Therefore, Gu Kaizhi, as a great painter known as "talented, absolutely famous, and obsessed" in the Eastern Jin Dynasty, is one of the founders of the theory of Chinese painting, and his techniques have been summarized a lot by later generations, and the gossamer drawing is the most widely known, but his painting method cannot be summarized in one sentence.

The representative works of Gu Kaizhi, a painter of the Eastern Jin Dynasty, include "The Female History of the Portrait", "Luo Shen Futu", "The Martyr's Benevolence and Wisdom" and so on.

1, "The Female Historian".

The Female History is an illustrated picture scroll drawn by Gu Kaizhi based on Zhang Hua's "The Female History". "Nushi" is the name of a female official, which later became an honorific title for intellectual women; "Proverbs" means to exhort, to admonish. There are 12 paragraphs in the text of "The Female Historian", and there are also 12 paragraphs in Gu Kaizhi's original picture "The Female Historian", but only 9 paragraphs exist in the existing Tang copy.

2, "Luo Shen Futu".

This painting was created by Gu Kaizhi based on the "Luo Shen Fu" by Cao Zhi, an outstanding poet of the Wei Kingdom. "Luo Shen Fu" uses a romantic approach to describe the love story between Cao Zhi and the goddess of Luoshui. Gu Kaizhi's "Luo Shen Futu" exerts a high degree of artistic imagination and poetically expresses the artistic conception of the original work.

The scroll is centimeters long and centimeters wide, and is ink and color on silk.

The painting scroll is divided into three parts, which depicts the sincere and pure love story of Cao Zhi and "Luoshen" in a detailed and layered manner. The characters naturally alternate, overlap and exchange in different time and space, and in the depiction of mountains and rivers, it shows a kind of spatial beauty. The picture scroll adopts the form of ***, and Cao Zhi and Luo Shen reappear repeatedly as the environment changes.

3, "The Martyr's Wisdom Map".

The Portrait of the Benevolence and Wisdom of the Lienu is based on the story of the characters in the "Biography of the Ancient Lienu" written by Han Liu Xiang, and the content is to describe the virtuous and resourceful women of the past dynasties. The original content of this picture was 15 sections, a total of 49 people, and now only 10 sections with a total of 28 people remain.

Each character in the painting forms an independent group of stories with a certain relationship. The characters are annotated with their names and a synopsis of the story. Collected in the Palace Museum in Beijing for the Song Dynasty facsimile, centimeter long, centimeter horizontal, ink and color on silk.

Gu Kaizhi

Gu Kaizhi (c. 348 409), the word Changkang, is a painter of the Eastern Jin Dynasty of China, a native of Wuxi (now Wuxi, Jiangsu) in Jinling, multi-talented, poetic, good at calligraphy, known as "talented, painting, obsessed", his painting lines are continuous and smooth, such as "spring silkworm spinning".

Gu Kaizhi also has outstanding achievements in painting theory, and put forward the views of conveying the gods, guarding the gods with form, and moving imagination, advocating that painting should express the mental state and character characteristics of the characters, attach importance to the experience and observation of the painted objects, and grasp the inner essence of the objects through image thinking, that is, the wonderful imagination, and then express the modal thoughts of the characters on the basis of the similarity, that is, to write the gods in form.

Gu Kaizhi's paintings and his theoretical achievements occupy an extremely important position in the history of Chinese art. Together with Cao Buxing, Lu Tanwei, and Zhang Sengqiu, he is known as the "Six Dynasties and Four Families".

Gu Kaizhi's argument of depicting gods in form has had a great impact on the development of Chinese painting.

The depiction of God in form comes from Gu Kaizhi's "Imitation of the Wonderful Law" of the Eastern Jin Dynasty, which indicates that when the painter reflects the objective reality, he should not only pursue the realism of the external image, but also emphasize the relationship between the form and the god, which is also the basic category of Chinese painting theory. The manifestation of the inner spiritual essence should also be pursued.

"Form" is the basic element of plastic arts, which occupies a very special position in Chinese painting theory, and only through the grasp of form can the god of the object be expressed. Only by showing the "god" and "form" can it be more vivid and vivid, and the relationship between the two is the unity of opposites.

Major achievements: Gu Kaizhi is good at poetry and writing, especially painting. He is good at portraits, historical figures, Taoist interpretations, birds and beasts, landscapes and other subjects.

The painted characters advocate expressiveness, attach importance to the finishing touch, and believe that "the portrayal of the expressive spirit is in the Adu (referring to the eyes)". Pay attention to depicting physiological details, showing the expressions of the characters, painting Pei Kai's portrait, adding three millimeters to his cheeks, and suddenly feeling radiant.

He is good at using environmental depictions to express the character's interest and demeanor. The portrait of Xie Kun is painted in the rock ravine, highlighting the character and interest of the character. The clothes of the characters in his paintings are depicted with ancient gossamer, and the lines are tight and continuous, such as spring silkworms spinning silk, spring clouds floating in the air, flowing water on the ground, natural and smooth.

He advocated that painting should express the mental state and character characteristics of the characters, attach importance to the experience and observation of the object, grasp the inner essence of the object through the imagination of the wonderful, and depict the god in form on the basis of the likeness. Gu Kaizhi's paintings and theories laid the foundation for the development of traditional Chinese painting.

Gu Kaizhi was a great painter in the Eastern Jin Dynasty, his paintings were vivid, and his influence on the time and future generations was very great. He is most famous for his Luo Shen Futu, which is depicted in a literary work by Cao Zhi, with Luo Shen as the dominant figure, and painted vividly in the form of a Ling Bo microstep on the water surface.

It fully reflects that Cao Zhi was under the constraints of feudal etiquette at that time, but the person he liked was taken away by Cao Pi and could not resist, and suppressed emotions in his heart.

Gu Kaizhi painted this kind of plot in different picture scrolls, expressing the landscapes, trees and stones in a decorative way, which on the one hand formed a whole with the picture, and at the same time made the main characters more prominent, showing a psychedelic artistic conception, full of romanticism.

The biggest feature of Luo Shen Fu Tu is the characters, each character has clear eyebrows, it seems to be very vivid, just like the existence of the gods, the inheritance can be the biggest feature of this painting, every person, every face, every social environment is described vividly, especially the eyes of the people are also more expressive, reflecting the mood of the people, but also reflecting his own painting style.

This painting depicts the inner world through a fantastical approach, that is to say, in the process of creating this painting, you must put your emotions into the object, so that the object is integrated with God and the subject, and the perfect artistic image is formed. When making this painting, think of yourself as something else. All in all, this painting had a great influence on later generations and became one of the most important aesthetic principles of Chinese painting.

It's not the painting saint - Wu Daozi.

Wu Daozi (c. 680 759) was a painter of the Tang Dynasty. The history of painting is honored as Wu Sheng. Also known as Daoxuan. Han nationality, Yangzhai (now Yuzhou, Henan) people. He was born about the first year of Yonglong (680) and died around the first year of the Qianyuan Dynasty (758).

It was Wu Daozi, (c. 680 759 AD), a famous painter of the Tang Dynasty, who was honored as a painting saint in the history of painting.

Actually, painting saints is not the only one. Gu Kaizhi, who was first called the saint of painting, but Gu Kaizhi was a title given by the people. And Wu Daozi was a title given by the emperor of the Tang Dynasty.

Wu Daozi's painting of the Holy Title is the most influential among the servile Chinese who advocate power and forcibly seal and submit to authority. However, Gu Kaizhi is recognized by everyone as a saint of painting, and in terms of truth and recognition, Gu Kaizhi's painting saint is more representative. From the perspective of strength and contribution, Gu Kaizhi is not only good at various subjects, but also the hardest Seiko painting method is the most exquisite, especially the ability to draw Shen Yun This is the biggest feature and label of Chinese painting.

Gu Kaizhi's painting level can be summarized as having both form and spirit. Not only that, Gu Kaizhi created the theoretical foundation of Chinese painting, and this contribution is foundational! Wu Daozi innovated and developed the painting technique, creating the white drawing method (at least it was only matured to him that the white drawing technique was mature), reaching the level of realism of the white drawing image, and all the sayings of "Wu with the wind".

However, Wu Daozi's painting subject matter is single (figure strokes), and he is only good at white drawing. Therefore, the actual contribution is also far greater than that of Wu Daozi. Taken together, Gu Kaizhi's painting is worthy of its name.

Of course, Wu Daozi's white drawing method is also at the level of painting saints. If you have to determine the status according to the painting saint given to Wu Daozi by the emperor, then Gu Kaizhi has to be called "painting god" (Taihua Guoxue evaluates cultural contributions in the order of god or to, saint, king, virtuous, male, and jie).

Gu Kaizhi, a great painter of the Eastern Jin Dynasty, is a talented man of the "Three Uniques", and an official without culture is not a good painter.

Gu Kaizhi, a painter of the Eastern Jin Dynasty, is still relatively famous in history, he is a more famous painter, but also a more famous theorist, representative works include "Female History Zhen Tu", "Luo Shen Fu Tu" and so on.

Gu Kaizhi has three uniques: painting, talent, and obsession. Among them, he is a relatively good painter of landscape painting and figure painting, especially "The Female History of Zhentu", which is almost a household name.

Gu Kaizhi has the spirit and style of realist painting, is a great master in the history of painting, like a brilliant star, and is one of the outstanding painters of ancient times.

Gu Kaizhi's works are most famous for suffering from Luo Shen Futu, and then his three books on painting theory, namely "Praise of Shengliu Painting in Wei and Jin", "Painting Yuntai Mountain" and "On Painting".