顾恺之,作为中国绘画史上里程碑式的人物,无论在绘画实践技巧上,还是绘画理论上,都进行了前所未有的摸索和总结,取得了无人可比的成就,使得中国绘画审美趣味发生了质的变化。尽管历朝历代对他推崇之至,但是这位画家尚无真迹传世,现存的无论《洛神赋》,还是《烈女仁智图》,《女史箴图》也罢都是唐宋时期的摹本。但是通过这些摹本,通过不同朝代的绘画理论家对他的评价,我们还是能从中领略到这位画圣的一些人格品貌和笔力神韵。 Gu Kaizhi, as a landmark figure in the history of Chinese painting, has made unprecedented exploration and conclusion both in painting practical skills and in painting theory, and has achieved unparalleled accomplishments that have made a qualitative change in the aesthetic taste of Chinese painting . Despite the admiration of the dynasties in history, the painter has no trace of authenticity. The existential novels of “God of Love” or “heroic benevolence and kindness” and “female history” are all examples of copies of the Tang and Song dynasties. However, through these copies, through the appraisal of him by different dynasty’s painting theorists, we can still appreciate some of the personality and pen and charm of this painting.