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摘要“形”和“神”一直是历代艺术家、理论家和哲学家反复讨论的重要论题，许多画论也都是围绕其为总线展开论述的。东晋时期的人物画家顾恺之第一次系统地阐述了“形神”关系，提出“迁想妙得”、“以形写神”的论点，为中国人物画创作奠定了坚实的基础。南齐谢赫所著的《古画品录》中影响最为深远的是“六法论”，其中至关重要的一点便是“气韵生动”。南宋陈郁在《藏一话腴· 论写心》中提出了“写心论”。由此可以看出，“形神论”在中国画画论中具有着不可撼动的地位。
对于一副绘画作品而言，不仅有其社会属性，还有生理属性。而作品“背后”的内容，主要是社会属性，或是通过其生理属性映射出画作中人物的社会属性。本文主要是通过对顾恺之、谢赫、陈郁的理论以及顾恺之的绘画作品进行研究，然后对其理论进行延伸。49916
同时，通过搜集整理当代青年画家的绘画作品，分析其“形神”，并剖析作品背后的意义，探求作者在创作过程中的精神诉求，以及“形神”中的重要作用和意义。
毕业论文关键词：形神论；气韵生动；迁想妙得；写心论；社会属性
Analysis of China painting “spirit” of contemporary creation influence
Abstract The relations of "form" and "spirit" have always been an important theoretical topic which is repeatedly dicussed by the ancient artists,theorists and philosophers.Many theories of painting are discussed around the relations of "form" and "spirit". During the Eastern Jin Dynasty, a portrait painter called Gu Kaizhi first systematically described the relationship of form and spirit .He proposed "association transference and wonder achievements" and "convey the spirit with imagination" arguments,which laid a solid foundation for the creation of Chinese figure painting. "Six principles of Chinese painting" ,the most profound theories in The Collection of Chinese Paintings by Xie He in the Southern Qi Dynasty, among which the crucial point is the "vividness and vitality". And in the Southern Song Dynasty ,Chen Yu put forward the emotional expressionin theory in Collected Works of Zang Yi:the Technique of Emotional Expression. All above show that form-spirit theory is unshakable in the Chinese painting theories.
For any painting,it may has both social attribute and physiological attribute. The content behind the painting is mainly its social attribute, or the social attribute reflected by physiological attributes of the characters in the painting. This thesis mainly discusses the theories of Gu Kaizhi,Xie He and Chen Yu as well as some paintings of Gu Kaizhi,and then extend their theories.
At the same time, the author collects some paintings of contemporary Chinese representative painters and analyzes the "form" and "spirit" of these paintings.Then the author analyzes the meanings behind these paintings in order to seek the spiritual pursuits of painters, and finally discusses the significance of the form-spirit theory.
Key Words: form-spirit theory; vividness and vitality; association transference and wonder achievements; emotional expression theory; social attribute
目 录
摘要--1
Abstract--Ⅱ
目录-Ⅲ
一、中国绘画“形神”的理论提出--1
（一）“形神”的哲学基础 1
（二）顾恺之“形神”关系的艺术内涵2
（三）谢赫“气韵生动”3
（四）陈郁“写心论”3
二、中国绘画的社会属性、及其“形神”背后4