Gu Kaizhi
Gu Kaizhi was a prominent painter during the early Eastern Jin Dynasty of China, recognized as one of the most distinguished figures in post-Han art. Initially serving as a military adviser, he later became an attendant to Emperor Andi. Known for his exceptional versatility, Gu excelled in verse, calligraphy, and painting, earning the title of Sanjue, which celebrates his unique artistic talents. He primarily focused on figure painting, with his notable ability to depict lifelike expressions, particularly in the portrayal of eyes, leading to the saying, "An eye touch makes a figure speak."
Among his renowned works is the fresco "Weimojie Xiang" in Nanjing, celebrated for its vividness, and his masterpiece "Nushi Zhen," which is housed in the British Museum. While the originals of his paintings have been lost to time, several copies remain, along with three surviving articles outlining his artistic philosophy. Gu Kaizhi's theories, particularly regarding the importance of the eyes in conveying a figure's spirit, have significantly influenced the evolution of Chinese painting and artistic expression.
On this Page
Gu Kaizhi
Related civilization: China
Major role/position: Painter
Life
Gu Kaizhi (GEW KAHI-jee) was the most distinguished early post-Han painter. He was first a military adviser and, in his last two years, an attendant of Emperor Andi of the Eastern Jin Dynasty (317-420 c.e.). Highly versatile in verse, calligraphy, and painting, he won the title of Sanjue (“three uniques” for his talent, painting, and artistic infatuation). He painted figures, celestial beings, birds and beasts, and landscapes but has been primarily regarded as a figure painter. Most distinctive was his rendering of eyes, which sharply contrasted to the dull portrayals popular since the Han Dynasty and produced expressions so lifelike that they led to a saying, “An eye touch makes a figure speak.” His fresco Weimojie Xiang (“the portrait of Vimalakirti”) in Waguan Temple in Nanjing was unimaginably vivid and dazzlingly brilliant. His authentic masterpiece was Nushi Zhen (“the admonitions of the instructress to the court ladies”), now in the British Museum. The originals of his paintings are lost but copies survive. Also extant are three of his articles, all from the fourth century c.e.: Lun Hua (on painting), Weijin Shengliuhua Zan (ode to the best paintings since Wei and Jin), and Hua Yuntaishan Ji (notes of paintings of Mount Yuntai), in which he holds that the spirit of a figure lies in the eyes and that forms are used to depict the spirit.
Influence
His paintings and artistic theory have had lasting effects on the later development of Chinese painting and Chinese art.
Bibliography
Fang, Hsüan-ling. Biography of Ku K’ai-chih. Translated by Shih-hsiang Ch’en. Berkeley: University of California Press, 1961.
Perkins, Dorothy. Encyclopedia of China: The Essential Reference to China, Its History and Culture. New York: Roundtable, 1999.