(346-407) 【 Eastern Jin Dynasty 】 was born in Jinling (now Wuxi, Jiangsu). In his early years (405-4 18), Yixi was a regular servant who rode straight and scattered, was knowledgeable, versatile and good at writing and painting. Immersed in art, tireless, known as "talent, painting, infatuation". Painting is taught by teachers and health association, and he is good at making Buddha statues, figures, landscapes, animals and birds. They are particularly good at making the finishing point, claiming that "four-body beauty has nothing to do with beauty and vivid portrayal, and is being banned." Its brushwork, such as silkworms spinning silk, is easy at first glance, but it has six methods on closer inspection; Color decoration is rich in color, not dizzy, subtle, unpredictable and erratic. Xing Ningzhong made a "Vimola statue" on the wall of Jiankangwa Coffin Temple, with a clear face and carried away expression, which made a sensation. Taste Pei Kai's portrait, add three points to your cheek, and you will feel refreshed. It creatively made a statue for Xie Kun and spread it among the rocks. It said to itself, "This child should be put in a ravine." . It's wonderful to draw portraits of the emperor one after another. In the Tang Dynasty, Zhang Huaiguan spoke highly of his paintings, saying, "Zhang Sengyou gets his flesh, Lu Tanwei gets his bones, and Gu Kaizhi gets his spirit." History calls Cao Buxing, Gu Kaizhi, Lu Tanwei and Zhang Sengyou "four great masters in the Six Dynasties". He also studied painting theory and wrote an article about painting, which was quite enlightening to later generations. There are many paintings, including Sima Xuan, Xie An, Liu Laozhi, Wang An period, Ruanxiu, Ruanxian, Di Chin Xiang Lian, Sima Xuan and King Weir, Guiyang Wang Meiren, Hangchuan, Tiger and Leopard, Birds and Wild Goose. There are two volumes handed down from generation to generation, namely, Lienv Renzhi Tu and Luoshen Fu Tu (manuscripts of Song people), which are now in the Palace Museum.

He once joined the army and served as a regular rider. Born in a gentry, he is versatile and skilled in poetry and prose, especially in painting. Good at figure painting, historical figures, Taoism, animals, landscapes and other themes. Painting characters advocates vivid expression, pays attention to the finishing touch, and thinks that "vivid depiction is in the process of covering the eyes" Pay attention to depicting physiological details, expressing characters' expressions, painting Pei Kai's image, and adding three points to his cheeks, and suddenly feel radiant. Good at using environmental description to express the interest and expression of characters. Drawing Xie Kun in the canyon highlights the interest of the characters. The clothes lines he painted are made of Gu You Si Miao, and the lines are tight and continuous, such as spring silkworms spinning, spring clouds floating in the air, and running water running on the ground, which is natural and smooth. Gu Kaizhi's works are not authentic. The pictures of women's history, the pictures of Luo Shen and the pictures of women's benevolence and wisdom, which have been handed down to this day, are all copies of the Tang and Song Dynasties. Gu Kaizhi has also made outstanding achievements in painting theory. There are three painting theories today: Wei Jinsheng's Painting Praise, On Painting and Painting Yuntai Mountain. Put forward the views of image theory, viewing God by form and thinking brilliantly. It advocates that painting should show the mental state and personality characteristics of the characters, pay attention to the experience and observation of the painted objects, grasp the inner essence of the objects through image thinking, and then show the modal thinking of the characters on the basis of similarity, that is, write the spirit with form. Gu Kaizhi's painting and his theoretical achievements occupy an extremely important position in the history of China's fine arts. Gu Kaizhi wrote three volumes of Enlightenment and twenty volumes of Anthology, both of which have been lost. However, there are still some poems that have been handed down, such as "Thousands of rocks compete for beauty, thousands of valleys compete for flow, and plants are covered. If the clouds flourish, Xia Wei will be". , vividly depicts the beauty of Jiangnan in detail, full of poetry and painting.

He was active in the middle of the Eastern Jin Dynasty. Si Marui and Wang Dao, the organizers of the Eastern Jin regime, have both passed away, and the regime established in their hands has been consolidated. During the Southern Dynasties, the aristocratic gate system headed by Wang and Xie also began to take shape. Their children: Jian Wendi, Sima Yu, Xie An, Wang Xizhi and others, are becoming conspicuous figures in aristocratic society. Gu Kaizhi's father, Gu Yuezhi, is about their age and is their fellow traveler. Although the ruling class in the Eastern Jin Dynasty was full of contradictions and conflicts, these scholars, represented by the calm and capable Xie An, not only created the brilliant record of "the battle of fighting for water" with fewer victories, but also contributed to the cultural thought at that time. Wang Xizhi and Wang Xianzhi are famous calligraphy artists in past dynasties. They and other scholars regard calligraphy as a conscious artistic creation. Xie Lingyun is a pioneer of this theme, and he sang beautiful natural poems. More importantly, they are different from the children of these families later, and they advocate a healthy outlook on life. They inherited Ji Kang's and Ruan Ji's ideas of advocating true temperament and attaching importance to cultural cultivation, and they took a serious attitude towards life, overcoming the bad habits of those celebrities in the late Western Jin Dynasty.

We know very little about Gu Kaizhi's life story, except that he was originally an official under the generals Huan Wen and Yin Zhongkan who ruled the upper reaches of the Yangtze River, and had a close relationship with Huan Xuan, the son of Huan Wen. Very appreciated by Huan Wen and Xie An. In his later years, he died at the age of 62 as an ordinary rider. There are some short stories about his life. His frank, simple, optimistic and true attitude towards some secular things is described as "infatuation" in some legends and stories. But some people describe him as smart, so some people once called him "half-stupid". He not only showed outstanding talent in painting art, but also was good at literature. Among the broken sentences he left, there is a famous sentence describing the beauty of mountains and rivers in eastern Zhejiang, which is "a thousand rocks compete for beauty, ten thousand valleys compete for flow, vegetation covers, clouds are glorious, and Xia Weirong". He was once called "genius, painter, idiot" by people at that time.

Gu Kaizhi's paintings enjoyed a high reputation at that time. Xie An once marveled that his art was "nothing from the beginning of life!" He sealed his works in a cupboard and stored them in Huan Xuan's place, but Huan Xuan stole them all from the back of the cupboard, which caused his surprise: "Wonderful paintings are psychic, and they can't die after they have changed." The story that he once raised a huge sum of money to paint murals in Nanjing crock temple shows the attraction of his paintings. When he built the crock temple, he pledged one million dollars and painted a picture of Vimalakīrti in the temple for a month. After painting, he looked at his eyes intently and asked, "People who come to see it on the first day give 100,000 yuan, people who come to see it on the second day give 50,000 yuan, and people who come to see it on the third day are free.". It is said that at the moment of opening the door, the statue of Vimola actually "shone on a temple", and the gift giver poured a throat and got millions of dollars at once.

Gu Kaizhi's works, according to the records of people in Tang and Song Dynasties, contain portraits of some political celebrities as well as some Buddhist images, which was a popular theme at that time. In addition, there are birds and beasts, which are related to paintings in the Han Dynasty. He also painted some images of immortals, because that was also a popular belief at that time. Most notably, he painted many portraits of famous people. This changed the ethos of advocating ethics in Han Dynasty, and embodied the new method of observing characters and the new purpose of artistic expression, that is, to leave ethics and politics and attach importance to the speech, style and talent of characters. This represents the expansion of the artistic vision of painting; Therefore, it puts forward new requirements for figure painting-expressing people's personality and spiritual characteristics.

In Gu Kaizhi's works and speeches, we can see that he repeatedly emphasized the description of people's expressions and mental states.

Gu Kaizhi, Lu Tanwei and Zhang Sengyou were the three most important painters in the Southern and Northern Dynasties, representing the rapid development and maturity of figure painting in the Han Dynasty.

Gu Kaizhi's essay On Painting, like his other two works on painting art, is not easy to read, and can only be inferred from its general idea. Among them, the stories are those painted by predecessors: Little Martyr, Zhou Benji, Fuxi Shennong, Han Benji, Sun Wu, Zui, Mao, Brave, Martyr, Dong, seven buddha, Xia Yin, Big Martyr, Beifeng Poetry, Quiet Pool, Seven Sages of Bamboo Forest, Ji's Poem of Virtue, and Chen Taiqiu II. In the first paragraph of the whole article, it is particularly said: "Every painting is the most difficult, the second landscape, the second dog and horse, and the second terrace. It is difficult to do well, it is easy to do well, don't wait for it to become wonderful. " Here, he pointed out that understanding the depth of an object is the highest in figure painting, which is also very important for landscape painting.

During the period of Xingning in the Eastern Jin Dynasty (AD 363-365), Gu Kaizhi painted a Vimala statue of "obviously ill, forgetting a few words" at the crock temple in Jinling (now Nanjing), depicting Vimalakīrti's illness and his special expression when talking to people. Although this image of Vimalakīrti has not been handed down, it has been well received. At the same time, this record also shows that the Buddhist images circulating in China do not completely imitate foreign art. In addition, when Gu Kaizhi painted the portrait of Pei Kai, he added three cents to his cheek. It is said that this is how he simply used details to enhance the portrait. It is also recorded that he deliberately painted Xie Kun among rocks, which shows that he tried to compare the characters' personalities with the environment. Moreover, we know that when he tried to figure out how to express Ji Kang's poems, he realized that when playing the piano, it is relatively easy to draw the posture of "waving five strings with one hand", although it is a small gesture of the hand; However, it is more difficult to draw "Looking at Hong Fei" and convey the loss of attachment to the clouds on the horizon through subtle expression of eyes. These are the reasons why Gu Kaizhi, as a figure painter, really realized the boundaries of his works when he tried to describe the subtle psychological changes in detail. In addition, he also explicitly talked about "vivid depiction is blocked" and proposed that depicting eyes is the most important skill in figure painting. All these show that Gu Kaizhi represents the new development of figure painting in this period.

Gu Kaizhi's original works have not been handed down so far. Only a few books have been circulated for a long time. Among them, the most exquisite Picture of Women's History (the Sui Dynasty manuscript, now in the British Museum in London, England) and the Picture of Luo Shen Fu (the Song Dynasty manuscript, now in the Palace Museum) can better illustrate the painting style and artistic level of Gu Kaizhi's era. A woman's history can be counted as several illustrations of an article. Women's History Proverbs, written by Zhang Hua in the Western Jin Dynasty. It is said that the purpose of his writing this article is to satirize the dissolute and depraved Queen Jia. Its content is some life experience and moral advice to educate women in feudal courts on how to be human and how to protect themselves. Gu Kaizhi is a picture of women's history, depicting a series of moving images, revealing the identity and elegance of these ancient court women from their postures. The painter's pen and ink are very simple. The ancients called the lines used to outline contours and pleats "like silkworms spinning silk", and in the pictures of women's history, they were also described as "spring clouds floating in the air and running water on the ground". The rhythm of these lines was preserved, which was continuous, slow, natural and very uniform. The Fu Tu of Luoshen is a sentimental poem that Cao Zhi, a famous poet in ancient China, used myth to metaphor the loss of love, and it is an important work of ancient China literature. Zhen Shi, a woman deeply loved by Cao Zhi, was taken away by her brother Cao Pi at the decision of her father Cao Cao. Zhen Shi didn't get a stable love with xelloss and died miserably. After her death, xelloss gave Xia Houdun the Yu Pei gold belt pillow left by Zhen Shi. Cao Zhi passed through Luoshui on his way back to his fief, and dreamed that Zhen Shiyin would pick him up at night. Apart from grief, Cao Zhi also wrote an essay "Feeling Zhen Fu", which shaped the moving image of Luo Shen (the daughter of Fuxi, who was said to be a god after drowning in Luoshui), that is, beautified the image of his lover. Cao Rui, the son of Zhen Shiyin, renamed it "Luoshen Fu". Many painters in ancient times painted the pictures of Luo Shen Fu, and there were many copies in Song Dynasty, all of which were copies of Gu Kaizhi's original works. The characters in the two volumes of the Palace Museum are basically similar, but there are differences in the composition of the scenery. That scene is simple, and the style is more characteristic of the Six Dynasties. At the beginning of the picture scroll, Cao Zhi and his attendants looked at the shore of waterinfo, and the beautiful waterinfo goddess hiding him in Beloved appeared on the calm water. The picture is full of water, Luo Shen is affectionate and seems to come and go. Luo Shen's figure conveys an unattainable infinite melancholy affection. Such a scene is exactly what the poet's affectionate eyes see. In his original poem, Cao Zhi once described Luo Shen's wandering on the water as "a slight step in the waves and dust in his socks". These two poems, full of tenderness and delicate feelings, have long been famous sentences, which also help us understand the poetry in the painting. This literary "Goddess of Luofutu" describes people's emotional activities, so it plays an important role in the development of ancient painting. "Lienv Tu" (a copy of Song Dynasty collected in the Palace Museum) seems to be based on the handwriting of Wei and Jin Dynasties in terms of characters, movements, costume composition and style. The illustrated book Biography of Lienv in Song Dynasty was reprinted in Ruan Yuan in Qing Dynasty. The number at the top of each page is similar to this volume, but with the background added. Also labeled as Gu Kaizhi Map, this illustration confirms this picture scroll, at least we can see a part of the painting art in Wei and Jin Dynasties (or between Han and Wei Dynasties), which is helpful to understand the historical origin of painting in the Southern and Northern Dynasties. Gu Kaizhi's works and Wei Jinsheng's praise of paintings have always been marked as articles by Gu Kaizhi. This paper discusses the method of copying, and matters needing attention in selecting silk, coloring, layout, painting mountains and painters, among which some painting experience is preserved. Another of his works, Painting Yuntai Mountain, is an article of historical value. However, there are many confusions in the article, but it can be seen that it describes a map of Yuntai Mountain divided into three sections. Yuntai Mountain is a famous mountain where Taoist founder Zhang Daoling cultivates immortals. This painting depicts Zhang Tianshi Daoling jumping off a deep valley to pick peaches, to test his disciples, among whom Zhao Sheng and Wang Chang are the most confident. The article also describes the steep trend of the mountain stream in the painting. There are solitary pines on the peaks, and the mountains are interspersed with phoenix birds with swaying body, beautiful feathers and fine tail wings and white tigers drinking rock water. This article helps us to understand the content and style of early landscape painting. The early landscape paintings contain strange immortal factors. Zong Bing and Wang Wei, Taoist priests in the Northern and Southern Dynasties, also preserved their landscape paintings, which can be seen from their thoughts of visiting immortals and observing Taoism. The styles of Gu Zhuo's early landscape paintings can be found in some stone carvings and Dunhuang murals in the Southern and Northern Dynasties. We can further understand Gu Kaizhi's figure painting, be good at improving the texture with light ink, outline powerful thin lines with "iron line drawing", describe the five senses of the characters in detail, and deal with nature and generosity dynamically. Combined with the complex facial expressions of the characters, it reveals their rich inner feelings; Clothing lines are smooth and elegant, beautiful and vivid, full of artistic charm. In his later years, the brushwork is like spinning silk in spring silkworm, which seems clever but not clumsy. He is colorful and slightly embellished, but he is full of romance. Lu Tanwei in the Southern Dynasties and Wu Daozi in the Tang Dynasty copied his paintings. Today, there are copies of Gu Kaizhi's works, which praise Cao Zhi's love with Zhenguan and exhort women's virtue, such as a history of women and a picture of women's benevolence and wisdom.

Make it clear publicly and donate millions.

During the Eastern Jin Dynasty in ancient China, a Buddhist temple named Crock Temple was built in Nanjing. After the temple was completed, the monks asked for donations. One day, a young man came to the temple and wrote several "millions" in the donation book. People are very surprised, because in the past few days, among many donors, there is no

One person donated hundreds of thousands. Everyone thought that the poor young man named "Tiger Head" was bragging and doodling, so the monk immediately asked him to erase the numbers he had written, but the young man said confidently, "Don't be busy! Find me a blank wall first. " So he closed the door.

Draw a picture on the designated blank wall, except the eyes. At this time, the young man said to the monk, "Everyone who comes to see the painting on the first day should donate100000 yuan to the temple;" Donate 50 thousand the next day. The amount of donations after that is up to you. "When this young man scratched Vimalakīrti's eyes in public,

The temple gate was wide open, like the glory of the gods, and the whole city was in turmoil. People rushed to the temple to see the paintings. They all praised the picture for its vividness. There is an endless stream of people looking at the paintings. It didn't take long for millions to make up. This painter is Gu Kaizhi, a great painter in the Eastern Jin Dynasty.