解析《洛神赋图》的美学思想.pdf

II 摘要本文从《洛神赋图》的创作背景出发,简述魏晋时期的美术概况从而引出主题。魏晋时期是中国美术发展史上具有重大意义的转折时期,作为东晋朝艺术的先驱者,顾恺之则扮演着导航的角色。《洛神赋图》即为他的经典代表作之一。《洛神赋图》是顾恺之根据曹植的《洛神赋》而作,是诗画结合的杰出典范,代表了当时绘画的最高水平,也几乎包含了魏晋时期普遍的美学特点。本文通过对顾恺之仅存的三篇画论《魏晋胜流画赞》、《论画》、《画云台山记》提到的美学观来全方位分析《洛神赋图》中人物,山水树木,鸟兽以及线条,设色、构图等的美学特点及其对后世产生的影响。其中重点谈到顾恺之的“传神论”和“迁想妙得”论在《洛神赋图》中的具体体现。在《论画》一文中他首次提到了“传神论”, “四体妍蚩,本无关妙处;传神写照,正在阿睹中”,“凡画,人最难,次山水,次狗马; 台榭一定器耳,难成而易好,不待迁想妙得也”;魏晋时期,山水尚处在萌芽阶段, 或多作为人物的陪衬出现, 《洛神赋图》中的山水也脱离不了时代的局限,以作为画面的装饰或分隔画面的作用,但还是很具有稚拙的美感,其在山水方面的美学观可以在他的《画云台山记》中略知一二;花鸟动物在《洛神赋图》中多次出现, 虽也多作为人物的陪衬,但造型已非常生动成熟,某些神鸟怪兽不仅增添了画面的活泼气氛同时也体现了中国丰富的文化底蕴,值得我们去研究。《洛神赋图》中的用线多为典型的“春蚕吐丝”描,富有韧性质感强烈并充满变化;设色上也相当沉稳主动,色调统一,格调优雅,神秘而且唯美,充满了浪漫主义色彩,富有诗情画意; 《论画》中还提到“置成布势”,《洛神赋图》在布局上采用了连续多幅画面表现一个完整情节的手法,类似于我们今天的连环画,在构图上运用了卷轴的形式,便于阅览,完整且统一。《洛神赋图》开创了中国传统绘画长卷的先河, 被誉为“中录了魏晋时期的历史也让我们看到了整个时代的美学思想,而且也让我们更清晰了魏晋之后中国古代绘画史整体的走向。[ 关键词] 《洛神赋》; 《洛神赋图》; 人物; “传神论”;山水 III Abstract This article from the "Lo River map" creative background, a br ief overview of the Wei and Jin periods and thus leads to the theme of art. Wei and Jin Dynasties is the Chinese art of great signifi cance to the history of the development of the transitional period towards the arts as a pioneer in the Ea stern Jin Dynasty, Gu Kaizhi are playing a role in navigation. "Lo River Ma p" is one of his classic mast erpiece. "Lo River Map" is based on Cao Zhi Gu Kaizhi's "Lo River" and as it is an outstanding example of combining poetry and painting, the painting repr esents the highest le vel at that time almost universally included in the Wei and Jin Dynasties aesthetic characteristics. This article by Gu Kaizhi only three paintings on the "flow-sheng Wei, Jin, Chan-painting", "On Painting", "painting Yuntaishan mind" refe rs to a full range of aesthetic analysis, "Lo River Map" in the figure, landscape trees, birds and animals, as well as lines, colors, composition and other aesthetic features a nd its impact on future generations. Which focused on the Gu Kaizhi's "vivid" and "Fa nny wo