Top Masterpieces: 1. Eastern Jin Dynasty. Gu Kaizhi's "Ode to the Goddess of Luo" 1. 頂級名畫: 東晉. 顧恺之《洛神賦圖》
*View horizontally 横行看畫面
Part 1:
Part 2:
Part 3:
Part 4:
Part 5:
Part 6:
Part 7:
Part 8:
Part 9:
Part 10:
Part 11:
Part 12:
Part 13:
Part 14:
Part 15:
Gu Kaizhi 顧愷之 (348-409) was a native of Wuxi, Jinling (now Wuxi City, Jiangsu Province). Painter, painting theorist and poet of the Eastern Jin Dynasty. Because he had great achievements in literature and painting, people called him Jue in painting, Jue in literature and Jue in art. Gu Kaizhi was erudite and talented, good at poetry, calligraphy, and especially painting. Gu Kaizhi, Cao Buxing, Lu Tanwei, and Zhang Sengyao were collectively known as the "Four Great Masters of the Six Dynasties". Gu Kaizhi's paintings were intended to express the spirit, and his arguments such as "imagination is wonderful" and "describing spirit with form" laid the foundation for the development of traditional Chinese painting.
Introduction
The volume of "Ode to the Goddess of Luo" is ink and color on silk. It is a long scroll that is similar to a comic strip but is composed of multiple storylines. It has been lost. The main ones handed down now are four copies from the Song Dynasty, which are collected in the Palace Museum in Beijing (two copies), the Liaoning Provincial Museum and the Freer Museum of Art in the United States. The two figures in the Palace Museum are basically similar, but the scenery is divided into one complex and one simple. The whole volume is divided into three parts, depicting the sincere and pure love story of Cao Zhi and Luo God in a detailed and layered manner. The characters are arranged in an appropriate density, naturally alternating, overlapping, and exchanging in different time and space, and the depiction of mountains and rivers all shows a kind of spatial beauty.
"Ode to the Goddess of Luo" (extant in many places such as the Palace Museum in Beijing, mostly works of the Song Dynasty) is an adaptation of the same name based on Cao Zhi's literary work. Long scroll drawn in pictorial form. The scroll depicts the emotional dynamics between Cao Zhi and Mi Fei (the Goddess of Luo) through repeated appearances, vividly expressing Cao Zhi's love for Luo Shen and his melancholy at not being able to realize his wish for a "Dzi Bead". God of Mankind". Using the love expression of "Beauty Vanilla" to express the author's political pursuit has been a tradition in Chinese literary and artistic creation since Qu Yuan's "Li Sao". Cao Zhi's "Ode to the Goddess of Luo" is an emotional expression after the failure of the political struggle. The graceful figure of the Goddess of Luo walking slightly in the painting "Ode to the Goddess of Luo" reveals her ambivalent mentality of "going back to the past". The strange beasts of the West have a strong flavor of mythology and romanticism.
Among the extant ancient Chinese paintings, "Ode to the Goddess of Luo" is considered to be the first painting adapted from a literary work.
顾恺之（348年～409年），晋陵无锡人（今江苏省无锡市）。东晋画家、绘画理论家、诗人。因为他有对文学和绘画方面有很高的成就，于是人们称他为画绝、文绝和痴绝。 顾恺之博学多才，擅诗赋、书法，尤善绘画。顾恺之与曹不兴、陆探微、张僧繇合称“六朝四大家”。顾恺之作画，意在传神，其“迁想妙得” “以形写神”等论点，为中国传统绘画的发展奠定了基础。
作品简介
《洛神赋圖》卷为设色绢本。是由多个故事情节组成的类似连环画而又融会贯通的长卷，现已失。现主要传世的是宋代的四件摹本，分别收藏在北京故宫博物院（二件）、辽宁省博物馆和美国弗利尔美术馆。故宫博物院的两件人物形象基本相似，只不过景物有一繁一简之分。 全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。
《洛神賦》是根據曹植的文學作品改編的同名。以圖畫形式繪製的長卷。畫卷透過反覆出現曹植和米妃（洛神）的形象來描繪他們之間的情感動態，生動地表達了曹植對洛神的愛慕之情和未能實現「天珠」心願的惆悵。人類之神」。以「美人香草」的愛情表達來表現作者的政治追求，是自屈原《離騷》以來中國文學藝術創作的傳統。曹植的《洛神賦》是政治鬥爭失敗後的情感表達。 《洛神賦圖》畫中洛神微微行走的優美身影，流露出她「回到過去」的矛盾心態。西方的奇獸具有濃厚的神話氣息和浪漫主義色彩。 在现存的中国古代绘画中，《洛神赋圖》被认为是第一幅改编自文学作品的画作。
Commenti