莊子在此提出的問題是，一個人的行為及表情有內外之別，真在內者，神動於外，所以貴真。如果一個人強哭、強怒、強親，雖有哭、怒、親的外相表露，但由於不是發自內心情感，因而是內外不一，只是一種假像，人們一眼就可識破。而一個人如果內心真有了悲、怒、親的情感，那他就會無聲而哀、未發而威、未笑而和，這就是真在內而神動於外，而這種真實的情感是自然不可易，不能佯裝，是受於天，所以要“法天貴真”，莊子所說的天，即自然本性。在此，莊子雖然不是在評畫，但他關於真在內而神動於外的思想，無疑極適合於藝術評論，啟發畫家不能僅僅以外形為刻畫的最終目的，而應將外形的描繪同內真與神采的表現相統一。
漢代劉安在《淮南子》中兩次論到畫的形與內在精神問題。一則說：“明月之光，可以遠望，而不可以細書；甚霧之朝，可以細書，而不可以遠望。尋常之外，畫者謹毛而失貌，射者儀小而遺大。”(《淮南子·說林訓》)他告訴我們，有的東西可以遠望，有的東西只可細書，畫家如果只細心描繪局部細節，有可能對整體面貌和態勢把握不住，就像射手只註意所瞄準的某一點而不顧大的方面一樣。在此，《淮南子》要求畫家不僅要做到局部細節形似逼真，而且還要統領整個形象的貌與勢。《淮南子·說山訓》中又說：“畫西施之面，美而不可說；規孟賁之目，大而不可畏。君形者亡焉。”這一則更明確說明，如果畫家只註意畫出西施的外表華美和孟賁的眼睛之大是不夠的，因為外形華美但不令人愉快(說即悅)，眼睛徒大而不令人敬畏，為什麽會這樣呢？“君形者亡。”也就是僅有外形而無內真和神采，外形如空殼，雖然華麗如何能打動人呢？顯然在漢代，《淮南子》已明確將形似同傳神統一起來作為評畫的標準，雖然沒有運用“傳神”“內真”的字樣，但其所表現的意思的確是不能僅僅用外表逼真作為評畫的唯一標準。《淮南子？原道訓》中還清楚地主張應以神為主，這樣形從而利，如果以形為制(統領)，把神放到從屬地位，則“神從而害”。這說明在漢代，對形神的關係已經有了更深一層的認識，此外漢代的哲學家、文學家楊雄，對言和書作了深層認識：“故言，心聲也；書，心畫也。聲畫形，君子小人見矣。聲畫者，君子小人之所以動情乎？”(《楊子法言·問神》)楊雄認為言是“面相之辭”，是人們溝通思想的工具，書則能“記久明遠”，天下大事都能記錄下來。言和書的本質都是心靈的表現，言是心聲，書是心畫。所謂聲畫形，即用言與書表達事物，各種人都能見出，由於言傳心聲，書表心畫，所以能以真情來打動君子小人。將言和書都看成是心聲心畫的這一觀點，肯定啟迪漢代以後的畫家與評論家不能僅僅將圖畫看成是外形象物，而應深入到形的精神層面加以認識。
到了東晉顧愷之，他自己既是一位知名的大畫家，同時也結合創作實踐開展繪畫理論研究，並進行繪畫評論。他的有關畫論言語，在劉義慶所著《世說新語》中保存兩則，另外有三篇論文被收入唐代張彥遠的《歷代名畫記》而得以流傳。這三篇文章是《論畫》《魏晉勝流畫贊》《畫雲臺山記》。張彥遠在《歷代名畫記》中說顧愷之“多才藝，尤工丹青，傳寫形勢，莫不妙絕”。說到顧愷之的文章時“著魏晉名臣畫贊，評量甚多。又有論畫一篇，皆模寫要法。”但在抄錄這兩文時，將評量甚多的一文題目寫成《論畫》，而將未有任何評定魏晉畫家，只談繪畫要法的純理論文章題名為《魏晉勝流畫贊》，張彥遠當時應該是區分清楚了的，可能在後來的傳印中將兩文題目顛倒。今天我們還是根據文章內容將題目還原，即將評論魏晉繪畫作品的一文的題目還原為《魏晉勝流畫贊》，將論繪畫方法一文的題目還原為《論畫》。
在《論畫》一文中，顧愷之提出“以形寫神”的觀點，以形寫神成為其後中國畫創作與批評的重要的藝術原則。《論畫》一文的主旨是“凡將摹者，皆當先尋此要，而後次以其事。”他說的“摹”即畫，模寫人物，“先尋此要”是指全文所論都是繪畫的要法或基本方法，即先掌握繪畫摹寫人物的基本方法，然後再才有可能談論其他。《論畫》最後一段：
人有長短，今既定遠近以矚其對，則不可改易闊促，錯置高下也。凡生人，亡有手揖眼視而前亡所對者。以形寫神而空其實對，荃生之用乖，傳神之趨失矣。空其實對則大失，對而不正則小失，不可不察也。一像之明昧，不若悟對之通神也。[5]
顧愷之此段原意我們要細心弄清，《論畫》通篇都是講如何摹寫對象，要求非常細致，如該文中部告誡畫家，畫頸以上，“寧遲而不雋，不使遠而有失”，因為頸以上為頭部，要慢慢細畫，不能有閃失。“若長短、剛軟、深淺，廣狹與點睛之節，上下、大小、濃薄，有一毫小失，則神氣與之俱失矣。”在此，顧愷之對畫人物的比例，用筆剛柔、用色深淺都作了細致要求，每一局部的一毫小失，都會導致人物的神氣損害。“人有長短，今既定遠近以矚其對，則不可改易闊促，錯置高下也。”畫家要根據人的長短來在畫幅中定遠近，其高下闊促不能隨意變化。“凡生人，亡有手揖眼視而前亡所對者。”即生活中的人，沒有拱手行禮眼前面無所視的對象，也就是說，人物的眼神和動作都與周圍的處境有關。“以形寫神而空其實對，荃生之用乖，傳神之趨失矣。”所謂空其實對是畫中之大失大錯，以形寫神而空其實對是什麽意思呢？畫家運用以形寫神的方法本來是很好的，但空其實對則犯錯，空其實對是歪曲了對象，畫中的人物形與神都與對象不合，或者是畫中的以形寫神，將人物的形神故作姿態，而與表現的處境無關，人物神態沒有根據，空陳其形，這就是空其實對。“荃生之用乖”，荃乃筌，筌是捕魚的工具，《莊子》有“得魚忘筌”“得意忘象”之說。“荃生”即運用來刻畫人物形象(生即生人即活生生的生活中的人)的方法、工具，亦即畫法，“用乖”即錯誤運用，這樣傳神的作用就消失了。整句話的意思是運用錯誤的方法來以形寫神，實則歪曲對象，沒有實際的根據，所以傳神的效果也就達不到了。“空其實對則大失，對而不正則小失，不可小察也。”歪曲對象或無根據地空陳其形是大錯，而抓住對象特徵描繪出現個別地方不準確則是小錯。“一像之明昧，不若悟對之通神也”。明昧是指人的聰明和暗昧。鮑照有詩雲：“年貌不可還，身意會盈歇。智哉眾多士，眼理辨明昧”。“一像之明昧”，即所畫形象所表現的聰明或愚鈍，“不若悟對之通神”，即有意表現人物的智慧或愚妄的姿態，不如徹悟對象，與之神通，然後將其神氣表現出來。
顧愷之在《論畫》全文中，說到“神氣”俱失，“以形寫神”，“悟對之通神”、三次提到神，所謂“神氣”“寫神”“通神”都是繪畫創作中人物形象塑造的至高要求。表現人物對象的神被提到很高的要求上來。“以形寫神”，將摹形作為繪畫的手段或初步要求，用形來寫神(表現神態)則是繪畫的目的或更高的要求。
顧愷之結合自己的創作經驗，認識到傳神的重要性。他為裴楷畫肖像，憑空在臉上加三根毛，“如有神明”，即能更好地表現人物的神采。《世說新語》記載他畫人，數年不點目睛，其原因是畫眼睛最重要，因而十分慎重，“四體妍蚩，本無關妙處：傳神寫照，正在阿堵中”。《太平禦覽》卷七零二引《俗語》說：“顧虎頭為人畫扇，作嵇、阮、而都不點眼睛，曰：‘點眼睛便欲語’”。《世說新語·巧藝》記載，顧長康道畫：“手揮五弦易，目送歸鴻難”。《晉書·顧愷之傳》：“愷之每重嵇康四言詩，因為之圖。”《文選·嵇叔夜〈贈秀才入軍詩〉》：“目送歸鴻，手揮五弦，俯仰自得，遊心太玄。”顧愷之根據嵇康此四言詩作畫，故有“手揮五弦易，目送歸鴻難”的體驗。為什麽畫手揮五弦易，而畫目送歸鴻難呢？那是因為手揮五弦是畫具體的人物動作，圖形較易，而目送歸鴻，則要表現人物的復雜神態和心緒，無所托依，則更為其難。手揮五弦是圖形，目送歸鴻是傳神，後者比前者難，要求更高。
形和神的概念，在東晉還被用來品藻人物，並認為眼睛關乎神明。《世說新語·賢媛》中說：“王尚書嘗看王右軍夫人，問：‘眼耳未覺惡不？’答曰：‘發白齒落，屬乎形骸；至於眼耳，關乎神明，那可便與人隔’？”在此形骸和神明區分得很清楚。東晉高僧慧遠對神作了精到的解釋：“夫神者何邪！精極而為靈者也，精極則非卦象之所圖，故聖人以妙物而為言，雖有上智，猶不能定其體狀，究其幽致。”(《全晉文》卷一百六十一)神是妙盡無名，感物而動，假數而行。慧遠還說：“則知化以情感，神以化傳；情為化之母，神為情之根，情有會物之道，神有冥移之功。”慧遠對神的解釋，受到佛學的影響，他還講到“神形俱化，始自天本”，“火之傳於薪，猶神之傳於形”。形神觀成為東晉佛學所討論的重要問題。正是在魏晉用形神品藻人物(如《世說新語》中“神意閑暢”“神氣豪上”“風姿神貌”“神姿鋒穎”“神明可愛”)和東晉佛學中對形神化傳問題的探討的背景下，顧愷之結合繪畫實踐，發展了他的形神藝術觀。
顧愷之所運用的“傳神寫照”“以形寫神”概念在其後的中國繪畫批評得到廣泛運用，成為評定中國畫的重要的藝術標準。“傳神”“寫照”雖與佛學理論有關，但經顧愷之改造，成為繪畫評論的專門術語。慧遠曾講到“神以化傳”、“以神傳神”、“神之傳於形”，講的主要是佛學中的生死化傳，重在神傳。顧愷之講的是繪畫中通過塑造人物形象來傳達人物的精神情采，重在傳神。“寫照”之說始於顧愷之。此前講到畫人物形象時，多用“圖畫其形”(《史記》裴絪集解引劉向《別錄》)、“寫其形象”(《尚書註疏》)、“法其形貌”(《漢書？蘇武傳》)、“寫載其狀”(《魯靈光殿賦》)。“寫”也就是“畫”，寫其形象也就是畫其形象。“照”也是佛學中的用語，神光外照，《涅槃無名論》中說：“三明鏡於內，神光照於處”，(《全晉文》卷一百六十五)，照有“窮幽之鑒”的智慧，是一種神光外照的神明。顧愷之用寫照二字，一方面有圖形寫象的意思，同時還有照明精神的意思，即畫出人物形象包含的精神特點，心靈智慧。所以寫照一詞比寫形有更豐富的內容。
繼東晉顧愷之《魏晉勝流畫贊》後，到南朝，獨立的畫品(繪畫品評)著作已開始出現。南朝齊謝赫的《古畫品錄》(原名可能為《畫品》)，南朝陳姚最的《續畫品》是兩部重要的繪畫評論著作，謝赫因在該書中提出繪畫六法，影響深遠，姚最的《後畫品》則接著謝赫的《畫品》往後評論。在這兩部著作中，象、形、神的概念得到初步運用。
謝赫對顧愷之的評價不甚太高，把顧放在第三品第二人。評語為：“格體精微、筆無妄下；但跡不迨意，聲過其實。”而對陸探微十分崇拜，評語為：“窮理盡性，事絕言象。包前孕後，古今獨立。”將陸定為上上品，還嫌屈標第一。謝赫亦未提及和搬用顧愷之的有關以形寫神、傳神寫照等批評術語，但物件、形、神的概念在品評畫家時，還是經常用到。且“六法”中有一法為“應物象形”。可見對形似問題也是足夠重視。
《古畫品錄》在評論張墨、荀勖時說：“若取之象外，方厭膏腴，可謂微妙也”。認為二位畫家如果拘以體物，則未見精粹，若取之象外，則可謂微妙。因此作畫不能被物體所拘束，而應取之象外。在評顧俊之時謝赫認為他精微謹細，有過往哲，他還是畫蟬雀第一人，其畫風比較細致，“始變古則今，賦彩制形，皆創新意”。顧俊之能在賦彩制形，精微謹細的同時能皆創新意，實乃不易，因而被列為第二品第一人。
謝赫對有些在象形、制形方面略為遜色但在神韻方面有所特徵的畫家，也是積極肯定的。如衛協，“雖不該備形妙，頗得壯氣，淩跨群雄，曠代絕筆”。衛協雖然在形的妙似方面略欠，但頗得壯氣，即畫的精神十足，有豪壯之氣度，仍為曠代絕筆，屬於第一品。評袁篟時說，“象人之妙，亞美前賢”，雖然在象形方面比前賢略差，但其藝術成就仍應肯定，“然和璧微玷，豈貶十城之價也！”在評價晉明帝時說：“雖略於形色，頗得神氣。筆跡超越，亦有奇觀。”這說明形色雖是評畫的基本標準，但不是唯一的標準，傳神也很重要。晉明帝的畫作形色略欠，但神氣頗得，因此亦有奇觀，作品也算不錯。
姚最在《續畫品》中進一步運用象、形、神的概念從事繪畫評論，所評畫家自謝赫後二十名，另對顧愷之重新評議。他運用“象人”的概念來評價梁元帝蕭繹，說梁元帝幼稟生知，學究性表，心師造化。“王於象人，特盡神妙，心敏手運，不加點治”。蕭繹能心師造化，即用心觀察自然景物，“遇物援毫，造次驚絕”，對自然事物的描繪，有很高的技巧，對人物形象的刻畫，“王於象人，特盡神妙”，善於模寫人物，特別能傳達人物神韻。所以象人、神妙成為蕭繹繪畫的特點。在評謝赫時，著重對他模寫人物十分精緻的特點給予贊揚。“貌寫人物，不俟對看。所須一覽，便歸操筆。點刷研精，意在切似。日想毫發，皆無遺失。麗服靚妝，隨時變改。直眉曲鬢，與世事新。別體細微，多自赫始，……中興以後，象人莫及。”說明謝赫筆跡精細，貌寫人物，目的在酷似對象，雖然謝赫的作品在氣韻精靈方面欠佳，生動之致略遜，但“象人莫及”，不少人模仿他的畫風，“委巷逐末，皆類效顰”。由此可見，謝赫雖然制訂繪畫六法，將氣韻生動放在第一，但他的畫作則重在象人形物。姚最在評張僧繇時說“朝衣野服，今古不失。奇形異貌，殊方夷夏，實參其妙。”認為他畫聖賢人物，“小乏神氣”，但這點小毛病不應過於苛求，“豈可求備於一人”。說明姚最在評價畫家時，對謝赫、張僧繇這樣的大畫家，既指出他們的長短處，又不求全責備，將氣韻，生動、神氣作為一個藝術標準，但雖略欠，而在象人貌物方面有特別成就也應充分肯定。姚最在運用形、神標準時，可以說在評畫操作中既有原則性又有靈活性。
在唐代，由於繪畫創作日趨繁榮，繪畫評論與理論研究也更加深入。一方面仍繼承顧愷之和謝赫、姚最的分畫家專評，即一人或二人一評的傳統，如彥的《後畫錄》，另一方面也出現專文論畫如白居易的《記畫》、張彥遠的《歷代名畫記》。在先秦和魏晉南北朝已確立的象、意、形、神的概念在唐代的畫評中進一步得到運用的同時，對這些概念及其關系的探討則有新的發展。
唐太宗時僧人沙門彥著有《後畫錄》，評點畫家的方法，基本沿襲謝赫、姚最。《後畫錄》收錄二十七位畫家，是他“觀在京名跡”後，品弟優劣差降而寫成，自稱“帝京寺錄”。象、形、神仍是他評畫的基本概念和標準。在評論鄭法士時說：“取法張公，備該萬物”。評隋江志：“筆力勁健，風神頓爽。模山擬水，得其真體。”評劉褒：“鳥雀其變，誠為酷似。”評張孝師：“象制有功，雲為盡善。”評曹參軍李湊：“揮毫造化，動筆合真。”評展子虔：“觸物為情，備該絕妙。尤善樓閣，人馬亦長。遠近山川，咫尺千裏”。彥說他的此文是“帝京寺錄”，也就是他在長安觀察寺廟壁畫後加以評品而寫成。所涉及的內容有人物畫，山水畫和花鳥畫，他評論這些畫家和作品時，將備該萬物、模山擬水、象制、合真，酷似作為重要標準，此外他還提出“心師造化”“靈心自悟”“揮毫造化，動筆合真”的觀點，說明唐代畫評家，在講究酷似、象形的同時，已認識到主觀心靈的特殊作用，心師造化、靈心自悟，即在師造化的過程中還要充分發揮畫家的心靈感悟作用，而不是簡單地模擬自然，心師造化提示了繪畫創作中主客體統一、情景互滲的規律，只有這樣，才能“揮毫造化，動筆合真”。所謂“合真”已不是表面的相似對象，而是內在的本質的切合，亦即創作出符合對象本質特徵的繪畫形象，這種形象乃所謂“真體”。後來張 談繪畫創作時總結出“外師造化、中得心源”的規律，是對彥 “心師造化”論的進一步闡釋。從東晉到南朝的形與神問題，發展到唐代，提出造化與心源的關系問題，是中國繪畫美學的一大進步。形與神的問題，主要集中在被描繪的人物形象的外形與內神問題上，而造化與心源則主要談的是客觀對象與畫家主體精神的關系問題，“心師造化”的提出，說明畫家主體意識在增強。
唐代著名詩人白居易為了記錄一位二十多歲的青年畫家張敦簡的畫作，“恐將來者失其傳”而作《記畫》一文，是年貞元十九年，即西元803年。張向白居易展示了十餘軸畫，內容有山水、松石、霓雲、鳥獸，妓樂、華蟲、六畜等。《記畫》中說：
張氏子得天之和，心之術，積為行，發為藝，藝尤者其畫歟！畫無常工，以似為工；學無常師，以真為師。故其措一意，狀一物，往往運思，中與神會，仿佛焉，若驅與役靈於其間者。……然後知學在骨髓者，自心術得，工侔造化者，由天和來。張但得於心，傳於手，亦不自知其然而然也。至若筆精之英華，指趣之律度，予非畫之流也，不可得而知之。今所得者，但覺其形真而圓，神和而全，炳然儼然，如出於圖之前而已耳。[7]
白居易在此提出“畫無常工，以似為工；學無常師，以真為師。”把擬與真作為繪畫和學畫的基本要求。一方面他認為學畫得骨髓(即精義)者，自心術得，也就是說要用心體悟畫之理，另一方面白居易還認為要工侔造化，由天和來，即師法造化，自然而至，不需雕琢。張敦簡的畫能得於心，傳於手，亦不自知其然而然也。張能工侔造化，又能神會心領，所以在作畫時能得心應手，不知其然而然。白居易贊揚張的作品“形真而圓，神和而全”，臻於完美。“形真”“神和”乃是白居易評論繪畫作品至佳的標准。如果說東晉和南朝在評論繪畫作品時，主要是以象人、象物、象形、或形似的標準衡量作品的形象，重在作品與對象的逼肖程度，那麽在唐五代則以真為師，用形真的概念來要求作品，形象既要與人物或事物的外形相似，同時還要與對象的本質相合，這樣才能達到“本真”。所以從“形似”到“形真”概念的發展，反映了晉唐審美觀的變化以及對事物認識的深化。五代荊浩在《筆法記》中談到，太行山有洪穀，其間有數畝之田，他常“耕爾食之”，在山中觀察古松，“凡數萬本，方如其真”，畫松號過數萬本，雖是大概數，說明他觀察及寫生之勤，“方知其真”，方始能達到對松的本質特點的表現。荊浩還說，繪畫“貴似得真”“度物象而取其真”，他將似與真作了明確區別，物有華與實，應分別取其物之華與物之實，如果執華為實，“苟似可以，圖真不可及也。”那麽什麼是似，什麽是真呢？“似者得其形遺其氣，真者氣質俱盛。”所謂似只是外表形象相似，而沒有把握物的實與氣，所謂真是氣質俱盛，真深入到形象的內在實質之中並得以表現。顯然荊浩是想提倡由似入真，貴似得真，把真看成繪畫表現的更高標準，將似與真的概念加以區別，並闡明二者的關系，對中國繪畫創作與藝術批評都有重要的意義。
唐代張彥遠在《歷代名畫記》中的“論畫六法”的篇章中對象、形、意的關系進行論述，而且將這幾個概念還和骨氣、用筆結合起來，發展了這些概念的意義。張彥遠在論畫六法中主要是講對謝赫六法的理解。顧愷之講以形傳神，謝赫講氣韻生動、骨法用筆，張彥遠則把顧愷之的“神”的概念舍掉而用“骨氣”的概念，顯然是把謝赫氣朗生動、骨法用筆的思想揉進去了。張彥遠說：
象物必在形似，形似須全骨氣，骨氣、形似，皆本于立意而歸乎用筆，故工畫者多善書。[5]
Zhuangzi in this question is that a person's behavior and expression of other internal and external, real, including those who, God moving on the outside, it really expensive. If a person is strong cry, strong anger, strong pro-Although there crying, anger, pro-foreign minister revealed, but not the heartfelt emotion, so it is different inside and outside, but an illusion that people can see through one. The one person who really have a sad heart, anger, pro-emotions, that he would silent and sad, no hair and the wai, did not laugh and instead, which is really moving on the outside, including the gods, and such real emotion is a natural is not easy and can not pretend, is subject to in the days, so "law days really expensive," said Chuang Tzu days, that is a natural nature. At this point, Chuang-tzu, though not in the commentary paintings, but rather on the true account of God moving on the outside of thought, no doubt very suitable for art criticism, inspired by artists can not be based solely on appearance To characterize the ultimate goal, but rather descriptions of the same shape within the unity of truth and spirited performance.
Han Liu in the "Huai Nan Zi" twice to the painting on the shape and internal mental problems. One said: "The moon's light, you can afar and can not be fine book; very fog of North Korea, the book can be thin and can not be afar. Unusual, the artists would like to lose hair and appearance, shot by a small instrument is survived it. "(" Huai Nan Zi Lin Xun said, "), he tells us that there is something that can be sights, there is something that can only be fine book, the painter if only partial details of the carefully described, it is possible to grasp the overall appearance and posture do not live, like shooter pay attention only to a certain point of the target regardless of large spheres. At this point, "Huai Nan Zi" requirement that local artists not only to the details of the shape of realism, but also to command the entire image of the appearance and potential. "Huainanzi said Hill Training" and added: "When a painting beauty of face, beauty can not be said; regulation Meng Ben's eyes, big but not terrible. Yan Jun-shaped perish." This is even more clear that, if the artist only to draw attention to the appearance of China and the United States, and Meng Xi Shi Ben's eyes are not enough large, because China and the United States, but not a pleasant appearance (ie Yuet said), the eyes large but not awe-inspiring Christians, why is it so? "Jun-shaped perish." Is the only true and vivid in appearance and no, shape of a shell, although the gorgeous how can actually touching it? Clearly in the Han dynasty, "Huai Nan Zi" has made it clear to the shape of unity with the vivid paintings as the assessment criteria, although not the use of "conveying the spirit" which "truth" of the words, but their performance does not mean lifelike appearance alone as a the sole criterion for evaluation painting. "Huainanzi? Yuan Dao training "was also clearly advocated should be based on God-based, so shaped to facilitate, if we form the system (command), put God into a subordinate position, then" God and thus harm. " This shows that in the Han dynasty, to shape the relationship between God already has a deeper understanding of, in addition to the Han Dynasty philosopher, writer Yang Xiong, the languages and gives a deep understanding of: "it is words and voice of him; book, pictures of the heart also. sound and picture form, a gentleman villain see the carry on. sound of painters, a gentleman villain reason for emotional or Down? "(" Yang Tzu-Fa Yan asked God "), Yang Xiong that the statement was" physiognomy of speech "in which people communicate with thinking tools, the book is able to "remember a long time Mingyuan," world affairs can be recorded. Introduction and the nature of the book are the heart's performance is the voice of words, the book is the pictures of the heart. The so-called sound and picture form, that is, to express things with words and books, all kinds of people can see out, because articulate voice, the book table pictures of the heart, they are able to move the gentleman's real love bad people. Introduction and books as the voice of pictures of the heart of this view is certainly enlightening after the Han dynasty painter and critic can not simply be outside the picture as the image of objects, but should be deep into the shape of spiritual be recognized.
To the Eastern Jin Dynasty Gu Kaizhi, he himself is a well-known painter, but also to carry out painting theory with creative practice, research, and drawing reviews. His words about painting theory, in Liu Yiqing book, "Shi Shuo Xin Yu" and save the two, there were three papers were included in the Tang Dynasty Zhang Yan Yuan's "Chronicles painting in mind" and can be spread. This three articles "On Painting" "Painting Chan Wei, Jin-Sheng stream" "Painting Yuntaishan mind." Zhang Yan Yuan in the "Chronicles painting in mind," said Gu Kaizhi "multi-talent, especially workers Danqing, Chuan-write the situation, did not dare Miaojue." Speaking of the article Gu Kaizhi time "painting the Wei, Jin Ming Chen praise to assess the many. Have a theory of art, all-mode to write to the Law." However, in both text copying, it will be to assess one of many text Title written "On Painting", but will not have any assessment of the Wei-Jin painters, but only the painting to France in a purely theoretical articles described as "Wei-Jin wins praise stream paintings," Zhang Yan was far from clear distinction should be, perhaps in a later pass printed text will be the subject of two reversed. Today, we are still the subject according to the article content will be restored soon comment on the Wei-Jin paintings of a man entitled to restore the "flow of art Chan Wei, Jin-Sheng", will comment on the painting method reduced to a text entitled "On Painting."
"On Painting" a text, Gu Kaizhi that "in order to form to write God" point of view, in order to form to write God into the creation and criticism of Chinese painting was an important principle of art. "On Painting" a main thrust of the text is "Where will ġ who are seeking for this to be at the head and then times to being to." He said, "ġ" that painting, mold to write characters, "first look for this to be" refers to the full text of the theory of are the painting to France or basic method, that is, first master the basic methods paintings depict figures, and then will it be possible to talk about the other. "On Painting" Last paragraph:
People have the length of this set distance to stare the right, will not be allowed to promote wide Gaiyi, Gao Xia is also misplaced.Where strangers, dead eyes, as there are hand-Yi death of the former right person. In order to write God-shaped blank in fact, Tsuen Health use well-behaved, expressive of the increasingly lost carry on. Air actually was big mistake, right instead of the regular small loss, must be aware of also. The next one, like ignorance, not as Gordon also speaks of the right. [5]
Gu Kaizhi we have to carefully understand the intent of this section, "On Painting" is full of talk about how to depict objects, requires very careful, if the text of the Central cautioned painters, painting neck above, "rather than late-jun, not so much and any errors, "because over the head and neck, to slowly fine paintings, can not have room for error. "If the length, just soft, depth, Guang Xia and the eye-dotting ceremony of the festival, from top to bottom, size, thick thin, there is a small loss of every dollar, then the air of loss associated with it carry on." At this point, Gu Kaizhi painted figures on the proportion of use Rigid pens, colors, shades are all made detailed requirements of every dollar of each local small loss, can lead to damage to an air of character. "Everyone has the length of this set distance to stare the right, will not be allowed to promote wide Gaiyi, Gao Xia is also misplaced." Painter, according to people in the frame of the length of the fixed distance, which can not be arbitrarily changed to promote Gaoxia wide. "Where strangers, death has hand-eye as the Ibo of the former by those who die." That is life, and no hand over hand salute nothing depending on the object surface, that is, people's eyes and movements are related to the situation surrounding the . "To write God-shaped blank in fact, Tsuen Health use well-behaved, expressive of the increasingly lost carry on." In fact, the so-called empty large painting pair is missing a big mistake to write God-shaped space in fact what does that mean? Artists use in order to form God's method of writing was originally very good, but the air actually is wrong, and air in fact is a distortion of the object, painting the characters shaped and God incompatible with the object, or painting in order to shape writing God, the God-shaped figure posturing, but the situation has nothing to do with performance, the characters an air of no basis for air Chen shape, which is empty in fact right. "Route of Health use good", Tsuen is Quan, Quan is a fishing tool, "Zhuang Zi" yes "Peter's fish forgot Quan", "seeing nothing like the" theory. "Route of Health" that is used to characterize the characters (raw or strangers living the life of the people) of the methods, tools, that is painting, "with good" that is an error to use, this portrayal of the role of the disappeared. The whole sentence means is to use the wrong way to write God with form, but in fact distort the object, there is no real basis, so vivid the effects also of reach. "Air actually was big mistake, right instead of being lost is a small, non-small-police people." Distortion of objects or non-empty, Chen-shaped base is a big mistake, but to seize the object profiles are inaccurate in some places there is a small mistake. "The next one, like ignorance, is not as Wu-right of the truly inspired of it." Ming Mei is the people's wisdom and the ignorant. Bao Zhao a poem that goes: "Appearance is not years, also, the body realize profits break. Zhi Zai number of disabilities, eye grounds identified ignorant." "One, like the Ming Mei," that is the image painted by the performance of smart or dull, "not as Wu-right of the truly inspired", that person interested in the performance of the wisdom or the fools of the gesture, not as good as a deep understanding of objects, with supernatural powers, and then out of its spirited performance.
Gu Kaizhi "On Painting" the text of, talking about "fortune" Ju loss, "to form writing God", "understand that the right of the truly inspired", three references to God, the so-called "fortune" "writing of God" "speaks "are painted in the shape of the high demand characters. Performance figures have been mentioned objects God demands a very high up. "To form writing God" will ġ shaped as a means of painting or preliminary requirements of the form to write God (the performance of an air) is the purpose of painting or higher requirements.
Gu Kaizhi combination of his experience, recognizing the importance of lifelike. He Peikai portraits, plus three out of thin air on the face hair, "If the gods", that is a better performance in spirited characters. "Shi Shuo Xin Yu" the painter, he recorded a few years do not point mesh eyes, the reason is to draw the eyes of the most important, so very carefully, "4 body Yan Chi, this has nothing to do beauty: vivid portrayal, is in the A block." "Tai Ping Yu Lan," Juan Qi and two cited "saying" is: "Gu Hu Wei Ren painted fan header for Ji, Ruan, but do not point the eyes, saying: 'point eye Pianyu language'." "Qiao Shi Shuo Xin Yu Yi," records, Gu Kang Road Painting: "hand-Hui Wu Xian Yi, watched Guihong difficult." "Book of Jin Gu Kaizhi Biography": "Kai's re-Ji Kang four words of each poem, because the map." "Selected Works of Ji Shu Ye" gift scholar into the army poem "": "watched Guihong, waved Wu Xian, pitch contented, You Xin Tai Xuan. "According to Ji Kang Gu Kaizhi four poems in this painting, so it is" hand-Hui Wu Xian Yi, watched Guihong difficult "experience. Why is hand-painted scrolls Wu Xian Yi, while the painting watched Guihong difficult it? That is because hand-Hui Wu Xian is the painting of specific character animations, graphics easily and watched Guihong, they have an air of the performance of complex characters and moods, nothing care to follow, even for hard. Hand Hui Wu Xian is the graphics, watched Guihong is a vivid, the latter than the former difficult, more demanding.
Shape and the concept of God, in the Eastern Jin Dynasty algae products are also used to figure, and that the eye relates to the gods. "Shi Shuo Xin Yu Yin-yuan," said: "Wang Shang taste to see Ms. Wang Youjun, asked: 'eyes and ears did not feel bad not?' Answer was: 'whitish teeth down, is a peace Xinghai; As for the eyes and ears is related to the gods , then we have been liaising with people across'? "In this Xinghai and very clear distinction between the gods. Eastern Jin Dynasty monk Huiyuan was subtlety of God explained: "When a man of God by Dr Evil! Fine but for the Spirit who is also a very, very fine while the non-Guaxiang of the map, it is sage to wonderful things and for the statement, although Sophia , I still can not determine its body shape, study of its secluded letter. "(" All Jin-wen "Volume 161) that God is doing wonderful unknown, a sense of moving objects, the number of false deeds. Huiyuan added: "is aware of in order to feelings of God in order to pass; love for the Mother of God for the love of the root, the situation there will be things of the Tao, God has the power transfer offerings." Huiyuan's explanation of God by the impact of Buddhism, he also spoke of "God-shaped Ju-oriented, from the days of this," "Fire in the salary mass, I can still pass in the form of God." The Eastern Jin Dynasty Buddhist concept of a God-shaped discussed important issues. It is in the Wei-Jin characters using shape Kamijina algae (such as "Shi Shuo Xin Yu" and "Divine smooth idle," "fortune-ho on the" "grace of God Appearance" "Shen Zi Feng-ying" "deities cute") and Buddhism in the Eastern Jin Dynasty deification of the shape Communication Problems in the context of Gu Kaizhi combination of painting practice, and developed his God-shaped art.
Gu Kaizhi the use of "vivid portrayal of" "in order to form writing God" concept in the subsequent criticism of Chinese painting is widely used as an important assessment of the art of Chinese painting standards. "Conveying the spirit" "portrait," with the Buddhist theory, although related, but by Gu Kaizhi transform into paintings comment on nomenclature. Huiyuan has talked about "God in order of Biography", "conveying the spirit of God," and "God's Biography in the form", speak mainly of Buddhist life and death in the transmission, focusing on God pass. Gu Kaizhi talking about the painting by making the characters to convey the spirit of people love to adopt, focusing on expressive. "Portrait" theory begins Gu Kaizhi. Mentioned previously, when drawing characters, multi-use "picture of its form" ( "Historical Records" magic emanation Variorum quoted Liu Xiang Pei, "Do not record"), "write the image" ( "Book of zhushu"), "Law as having" ( "Han? Su Wu Chuan"), "to write out its like" ( "Emmanuel Lu Dian Fu"). "Writing" also means "painting", write its image is painted its image. "According to" is also a Buddhist in the language, according to SG outside, "Nirvana unknown" theory, said: "Three mirror on the inside, God light in the office" ( "full Jin-wen" Volume 165), according to a "The poor are secluded lessons of" wisdom, is a SG gods outside the photo. Gu Kaizhi with depiction of the word, on the one hand, as the meaning of graphic writing, along with the spirit of the meaning of lighting, that draw the characters with the spirit of the characteristics of spiritual wisdom. So portrayal shape more than to write the word rich content.
Following the Eastern Jin Dynasty Gu Kaizhi "Wei-Jin-Sheng flow painting praise", the to the Southern Dynasties, independent of the paintings (painting tasting) work has begun to emerge. Southern Qi Sheikh's "principles of Chinese painting" (formerly known as possible for "paintings"), Southern Chen Yao most of the "Continuation of paintings" are two important paintings comment on books, Sheikh painting because of the legal foundation for the book made far-reaching impact, Yao the best "post-paintings" is followed by Sheikh's "paintings" The next comment. In these two works, the elephant, shaped the concept of God has been initially used.
Sheikh on the evaluation of Gu Kaizhi not very high, the Advisory Board on the third product the second person. Reviews as follows: "cell body microscopic, non-pens to jump; but do not trace the cause of Italy, and sound over a matter of fact." Exploration of the right land is very worship, reviews as: "poor reason to make sex, never made something like. Packet after pre-pregnancy , ancient and modern independence. "will land as on the top grade, not enough for standard 1st Qu. Sheikh made no reference to, and borrowed a Gu Kaizhi order form to write about God, vivid portrayal of terms such as criticism, but the object, shaped the concept of God, when tasting a painter, was often used. And the "Six" has a law "should be pictographic things." We can see that the shape of the problem is sufficient attention.
"Principles of Chinese painting," In commenting on Zhang Mo, Xun Xu said: "If you take the elephant, the parties disgust Gao Yu, can be described as delicate of it." Believe that if the arrest of two artists with physical objects, then no essence, if the signs of taking things, then can be described as subtle. Therefore, painting can not be bound by an object, but should be taken from outside like. Gu Jun at the time of assessment, Sheikh that he would like to thin microscopic, there is the past philosophy, he was the first person painting cicada bird, its style is a rather meticulous, "while only changing the ancient and modern, Fu-color system, shape, both delightful innovations." Gu Jun of the system can assign color-shaped, microscopic detail at the same time would like to be able to both innovation in Italy, an exercise is not easy, they have been the first person listed as the second product.
Sheikh for some in the figure, shaped in a weaker system, but in some characteristics of charm in a painter, but also positive in the affirmative. Such as the Guardian Society, "not necessarily to the prepared form Miao, drew much Zhuang gas, Ling across the pack, Kuang-generation must pen." Although the shape of co-Wei Miao appear in Lueqian, but drew much Zhuang gas, is painting the spirit of full, there is Haozhuang of tolerance, must still Kuang on behalf of the pen, belong to the first product.Comments Yuan luxuriant growth of bamboo, said, "The Elephant Man's wonderful, and Asian-American worthies", while those with less symbolism than the worthies, but its artistic achievement should still be affirmed, "Ran, and bi micro-jade Qi demoted 10 of the price for the city!" Emperor Ming of Jin Dynasty in the evaluation, said: "Although a little on the form, color, drew much spirited. handwriting beyond, there are wonders." This shows that although the assessment form, color painting of the basic standards, but not the only standard, expressive also very important. Jin Emperor Ming's paintings form, color Lueqian, but the air of drew much, so there are wonders, works are also not bad.
Yao of the most in the "renewal of painting materials" further the use of elephants, and shaped the concept of God involved drawing comments, the comments of his self Sheikh after 20, another right Gu Kaizhi re-evaluation. His use of "Elephant Man" concept to evaluate the Emperor Yuan of Liang Xiao Yi, saying that young Emperor Yuan of Liang intrinsic Sheng Zhi, academics, sexual forms of nature in mind. "Wang Yu Elephant Man, special make marvelous, mind-min hand movement, without point rule." Xiao Yi can face of nature in that the intention to observe the natural scenery, "the event of material aid cents, rash scared away", depicts the natural things, there is a high skills, portrayal of characters, "Wang Yu Elephant Man, special do's alone "to write good characters die, in particular, conveys the character charm. Therefore, the Elephant Man, Xiao Yi's alone became paintings characteristics. Sheikh, in assessing when to focus on his character model was a very delicate features must be commended. "Maung to write characters, not once the right to see. The required list, then go speak pen. Point brush research essence, aimed at cutting seems. Japan would like to lose, are all non-missing. Li Liang makeup services at any time changes that. Straight brow Qu temples, with new things. Do not body subtle, more self-Hyuk beginning ... ... ZTE later, Mo, and The Elephant Man. "description Sheikh fine handwriting, Maung written characters, designed to resemble an object, although the Sheikh's works in poor areas Qiyun Wizard vivid's caused a little son, but "The Elephant Man Mo and" many people imitate his style, "commissioned by the end of Lane are all class effect frown." Thus, the legal foundation for Sheikh While the development of painting will be placed on vivid Qiyun first, but his paintings to emphasize things like the human form. Yao Zhang Sengyao most in assessing when to say "North Korea clothes wild clothes, Heritage and losing. Odd-shaped different appearance, Shu Fang Yi Xia, actual parameters of its wonderful." Saints that he painted people, "small lack fortune-oriented", but this is minor defects should not be too demanding, "how can they seek in a prepared people." Description Yao best artists in the evaluation, the right-Sheikh, Zhang Sengyao such a great painter, both point out their weaknesses and do not demand perfection, will Qiyun, lively, spirited, as an artistic standard, but nevertheless Lueqian, while in the elephant who have special achievements in appearance and material should be fully affirmed. Yao of the most in the use of shape, God standard, can be said that the commentary painting operations have flexibility in both principle.
In the Tang Dynasty, due to the increasing prosperity of painting, drawing reviews and theoretical research in greater depth. On the one hand is still inherit Gu Kaizhi and Sheikh, Yao sub-painter of the most special assessment, that is, a person or two a tradition of commentary, such as the yen's "recorded after the painting," On the other hand also appeared as a special article on the painting Bai Ju-yi's " painting in mind, "Zhang Yan Yuan's" Chronicles painting in mind. " In the pre-Qin and Wei, Jin and Southern and Northern Dynasties have been established such as, Italy, shaped the concept of God in the Tang Dynasty paintings to be used for further evaluation in the same time, to explore these concepts and their relationships there are new developments.
When the monk Tang Taizong Salmonella Yan of "recorded after the painting," Comment on the artist's methods, basically followed the Sheikh, Yao best. "After the painting was recorded," included 27 artists, is his "concept in Jing-track", the product down and the younger brother of pros and cons of poor languages, self-styled "Royal Plaza Temple record." Elephant, shape, God is still the basic concept of his painting assessment and standards. Commenting on Mr France Chevalier said: "The device originates furtherance, maintenance of the things." Comments Sui Jiang Zhi: "vigor Jin Jian, Fengshen Dayton cool. Die mountains to be water, and obtain its real body." Rating Liu praise: "bird of its change, sincere to resemble." Rating ZHANG Xiao-Shi: "like a system of merit, cloud to do good. "commentary to join the army, Cao Li Minato:" brush with good fortune, really write together. "rating Zhan Ziqian:" Subject matter of conditions, maintenance of the wonderful. Youshan pavilion, Sagittarius is also long. far and near rivers and mountains close by home thousands of miles. " Yan said that his paper is a "Royal Plaza Temple, Lu", that is, in the Chang-an observation that he be assessed after the temple murals and written materials. The content covered in figure painting, landscape painting, and flower, his comment on these artists and their works, it will be prepared in the creation, mold mountains to be water, such as system, together true, resemble as an important standard, In addition, he also raised the "heart of nature in "" Zi Wu Ling Heart "" brush with good fortune, write together true "point of view, indicating the Tang Dynasty art critic, in the stress resembles, symbolism at the same time, has recognized the special role of the subjective mind, the heart of nature in the spiritual heart Ziwu , that is, good fortune in the process at the division also give full play to the role of the artist's spiritual insights, rather than simply to simulate the natural heart of nature in painting suggests the unity of subject and object creation, scenarios Infiltration of the law the only way to "brush good fortune , write together really. "The so-called "All truth" is not similar to the surface of an object, but in line with the nature of the inner, which is in line with the object to create the essential characteristic of painting the image, this image is the so-called "truth body." Later, Zhang When you talk about painting concludes that "teacher and good fortune, the heart was the source," the law is a Yan "Heart of nature in" On the further explanation. From the Eastern Jin Dynasty to the Southern question of form and spirit, developed to the Tang Dynasty, made the relationship between the source of good fortune with heart problems, aesthetics of Chinese painting is a big step forward. Shape and God's problems, mainly concentrated in the characters being portrayed in the shape and the question of God, but good luck with the heart the source is mainly talking about is the main objective and the spirit of the object and the artist relations, "heart of nature in" the proposed Description painter subjective consciousness is growing.
The famous Tang Dynasty poet, in order to record an over 20-year-old young artists Dun-Jane's painting, "those who fear the future, missing the pass" and to "remember painting" a text, the requirement is Sadamoto nineteen years, that is, AD803Year. Zhang Bai Ju-yi-axis shows the ten paintings, the content landscape, turquoise, rainbow clouds, birds and animals, prostitution music, Chinese insects, domestic animals and so on. "Remember the painting," said:
Chang was days of the child and the heart of the operation, the plot for the line, made for the arts, arts in particular those of their paintings tonight's! Painting impermanence workers to appear for the workers; school impermanence divisions, in order to really serve as a teacher. Therefore, its measures for an Italian, like an object, often transported thinking, with God will, like Yan, if the drive and spirit in the meantime those who served. ... ... Then those who know science in the bone marrow, since the intention is very, engineering Hitoshi luck who come from the days. Zhang, but have in mind, pass in hand, not knowing of its contingent, however, also. If the pen to the essence of the Anglo-Chinese, saying that the Lvduo interest, for non-painting and his ilk are not well aware of Ke Deer. This income earners, Danjue its true shape, round, God and the whole, Bing Ran is like, such as for figure just before the ear. [7]
Po Chu-i would like to propose "paintings impermanence workers to appear for the workers; school impermanence divisions, in order to really serve as a teacher." To be with the real painting, as painting and learning the basic requirements. He believes that learning to paint the one hand, the bone marrow(That is the essence)Who, since the intention is too, that reason should be carefully realized that painting the other hand, Po Chu-i also believe that the good fortune to work Mou, from days and years, that were founded with good fortune, natural to, without polish. Dun-Jane's paintings can be had in mind, pass in hand, not knowing of its contingent, however, also. Zhang Mou good fortune to work, but also God will Xinling, so when you are painting can be handy, I wonder, however, ran. Bai Ju-yi praised Zhang's work, "True-shaped, round, God and the whole" perfected. "Form true", "God and" is the Po Chu-i comment on paintings to the good standards. If the Eastern Jin and Southern Dynasties, when commenting on paintings, mainly based on The Elephant Man, like objects, pictographic, or the shape of a standard to measure the image of the work, focusing on works and the very image of the object level, then true for the division Ze Yi Tang and Five Dynasties using shape the concept of truth to demand work, the image of both the shape and the persons or things similar to, while also coincide with the nature of the object, so as to achieve "authentic." Therefore, from the "shape" to "true form" concept of development, reflecting the changes in aesthetics Jin and Tang Dynasties, as well as the deepening of understanding of things. Five Dynasties, Jing Hao, "strokes in mind" and spoke of the Taihang Mountains with Hong Gu, during which several acres of fields, he often "eat till Fall," observed old pines in the mountains, "where tens of thousands of copies as its true side," pine No. over tens of thousands of this, although this is probably a few shows he is observing and sketching the ground, "party know-true", had passed to achieve the essential characteristics of the song performance. Jing Hao said the painting "was worth it really was," "degree of physical image, whichever is true", he will appear with the truth made clear distinction between the Chinese and the real things are, should be split between the Chinese and material goods whichever is the fact that if the Directors Huawei real, "Gou like Yes, plans can not be true, and people." So what is like, what is true? "Like those who have lent their gas-shaped leaves really are temperament Ju Sheng." Appearance is just like the image of the so-called similar, but not really grasp the objects with the gas, the so-called temperament Ju Sheng is really, really deep into the inner substance of the image into, and to be performance. Jing Hao, apparently trying to promote by the like into the truth, it really seems expensive, the real painting as a higher standard of performance will be like with the real distinction between the concept and to clarify the relationship between the two, the Chinese painting and art criticism has an important significance.
Tang Yan-Yuan in the "Chronicles painting in mind" in the "On the legal foundation for painting," chapter in the object, shape, discusses the relationship between Italy, but this was also several concepts and moral integrity, a pen together and developed the meaning of these concepts . Zhang Yan as far away as the legal foundation for the theory of painting is mainly talk about the legal foundation for the understanding of the Sheikh. Gu Kaizhi speak to form vivid, Sheikh talk Qiyun vivid, bone France pen, Zhang Yan Gu Kaizhi far put the "god" concept of sacrificing instead of "backbone" concept, obviously is to Sheikh air Lang lively, bone France rubbed into the pen idea. Zhang Yan Yuan, said:
As things must be in shape, the shape to the whole backbone, backbone, shape, both in conception and return peace to this pen, so many good books about art work. [5]
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