顾恺之曾为桓温及殷仲堪参军，

义熙（405-418）初任通直散骑常侍。刘裕北伐南燕，恺之为作《祭牙（旗）文》。多才艺，工诗赋、书法，尤精绘画，尝有才绝、画绝、痴绝之称。多作人物肖像及神仙、佛像、禽兽、山水等。画人注重点睛，自云传神写照，尽在阿堵（即这个，指眼珠）中。尝为裴楷画像，颊上添三毛，而益觉有神。在建康瓦棺寺绘《维摩诘像》壁画，光彩耀目，轰动一时。后人论述他作画，意存笔先，画尽意在；笔迹周密，紧劲连绵如春蚕吐丝。把他和师法他的南朝宋画家陆探微并称顾陆，号为密体，以区别于南朝梁张僧繇、唐吴道子的疏体。著有《论画》、《魏晋胜流画赞》、《画云台山记》，其中迁想妙得、以形写神等论点，对中国画的发展，有很大影响。存世的《女史箴图》传是早期的摹本，内容绘写西晋张华所撰约束宫廷嫔妃的教诫。1900年八国联军侵入北京，被英军从清宫劫去，现藏英国伦敦不列颠博物馆。所传顾的另一作品《女史箴图》，乃宋人摹本。

顾恺之的作品，据唐宋人的记载，除了一些政治上的名人肖像以外，也画有一些佛教的图像，这是当时流行的一部分题材。另外还有飞禽走兽，这种题材和汉代的绘画有联系。他也画了一些神仙的图像，因为那也是当时流行的信仰。而最值得注意的是他画了不少名士们的肖像。这就改变了汉代以宣扬礼教为主的风气，而反映了观察人物的新的方法和艺术表现的新的目的，即：离开礼教和政治而重视人物的言论丰采和才华。这表示绘画艺术视野的扩大；从而为人物画提出了新的要求——表现人的性格和精神特点。 在顾恺之的著作言论中，我们见到他反复强调描写人的神情和精神状态。顾恺之和陆探微、张僧繇是南北朝时期的三位最重要画家，代表了汉代美术得到迅速发展和成熟的人物画艺术。唐代张怀瓘对其画评价甚高，云："张僧繇得其肉，陆探微得其骨，顾恺之得其神。"

 擅诗词文赋，尤精绘画。擅肖像、历史人物、道释、禽兽、山水等题材。画人物主张传神，重视点睛，认为“传神写照，正在阿堵(指眼睛)中”。注意描绘生理细节，表现人物神情，画裴楷像，颊上添三毫，顿觉神采焕发。善于利用环境描绘来表现人物的志趣风度。画谢鲲像于岩壑中，突出了人物的性格志趣。其画人物衣纹用高古游丝描，线条紧劲连绵，如春蚕吐丝，春云浮空，流水行地，自然流畅。

顾恺之在绘画理论上也有突出成就，今存有《魏晋胜流画赞》、《论画》、《画云台山记》3篇画论。提出了传神论、以形守神、迁想妙得等观点，主张绘画要表现人物的精神状态和性格特征，重视对象的体验、观察，通过迁想妙得来把握对象的内在本质，在形似的基础上以形写神。顾恺之的绘画及其理论，为中国传统绘画的发展奠定了基础。

顾恺之知识渊博而有才气，在中国古代画史上声名显赫。擅长诗赋、书法，尤其精通绘画。工人像、佛像、禽兽、山水等。画作《女史箴图》《洛神赋图》《列女仁智图》《斫琴图》等堪称珍品。在绘画理论方面，顾恺之也提出了“传神写照”“以形写神”“迁想妙得”等观点，重视体验观察，主张通过绘画表现人物的内在精神状态。 

顾恺之博学多才，世人评价他“三绝”——“才绝”“画绝”和“痴绝”。他的画师法卫协而又有所变化，他的画有敷染容貌，以浓色微加点缀，不求晕饰；笔迹周密，紧劲连绵，如春蚕吐丝，春云浮空的特点。史有以曹不兴、顾恺之、陆探微、张僧繇合称“六朝四大家”。精通画论，其“迁想妙得”、“以形写神”等论点，对我国传统绘画的发展，影响很大。

顾恺之沉醉于艺术文学，淡于名利地位，以”痴黠参半，”明哲保身"的处世哲学，以达到他艺术最高的成就。

  画迹甚多，有《司马宣王像》、《谢安像》、《刘牢之像》《王安期像》、《阮脩像》、《阮咸像》《晋帝相列像》、《司马宣王并魏二太子像》、《桂阳王美人图》、《荡舟图》、《虎豹杂鸷鸟图》、《凫雁水鸟图》、《庐山会图》、《水府图》、《行三龙图》、《夏禹治水图》等。顾恺之作品真迹没有保存下来。相传为顾恺之作品的摹本有《女史箴图》、《洛神赋图》、《列女仁智图》等。《女史箴图》，绢本，淡设色，藏英国伦敦不列颠博物馆，多数人认为是唐代摹本。

《斫琴图》

《斫琴图》是宋代摹本之一。此图虽不及《洛神赋图》有名，也不及《洛神赋图》更具代表性，但在风格特征上仍凸现出顾恺之的千古一绝。这幅图描绘的是古代文人学士制琴的场景。《女史箴图》

"女史"指宫廷妇女，"箴"则为规劝之意。晋初惠帝时，贾后专权，极妒忌，多权诈，荒淫放恣。文人张华便以历代贤记事迹撰文《女史箴》以为鉴戒，被当时奉为"苦口陈箴、庄言警世"的名篇。才华横溢的画家顾恺之便将此名篇分段，一段一段画成画，并将相在箴文题于画侧，中国历史上的旷世名作《女史箴图》由此问世。

《女史箴图》有两个绢本，一本藏故宫博物院，专家认为是南宋摹本，艺术性较差；另一本艺术性较强，更能体现顾恺之画风与《女史箴图》原貌，专家认为可能为唐人摹本。原本为清宫所藏，遗憾的是国贫民弱，连累国宝受难，此摹本存大英博物馆(Tje British Museum,London,England)。

《洛神赋图》

中国十大传世名画之一。原《洛神赋图》卷，东晋著名画家顾恺之绘制(宋摹)，绢本，设色，纵27.1cm，横572.8cm。这幅画根据曹植著名的《洛神赋》而作，为顾恺之传世精品。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。此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。

 痴迷

顾恺之出世没多久，他的母亲就去世了。顾恺之因其他小朋友都有母亲，惟自己没有。他便缠着父亲不放，问：“我为什么没有母亲？”父亲说，你怎么会没有母亲呢？顾恺之穷追不舍：“那我的母亲长得什么模样？”父亲只好耐着心思给他描述。顾恺之就是凭借父亲的描述，一次又一次地给母亲画像。每次画好之后，他都要问父亲像不像，父亲总是在肯定之后，表示遗憾。但顾恺之不气馁，仍然画笔不辍，只到父亲两眼放光，说“像，像极了”，他才满意地放下画笔。他的母亲就这样在他的心里永生了。

痴黠

《晋书·顾恺之本传》记载：尝悦一邻女，挑之弗从，乃图其形于壁，以棘针钉其心，女遂患心痛。恺之因致其情，女从之，遂密去针而愈。文人雅士多情感丰富，喜女、戏女是常有之事，自古至今，概莫例外。顾恺之虽痴，却工于心计。

最先看出顾恺之痴中有黠的是桓玄的父翁桓温。有一次，桓玄将一片柳叶说成是隐身法宝，要顾恺之鉴赏一下。顾恺之刚接到手里，桓玄便对顾恺之尿尿，将顾恺之尿个精透，满身骚气，还口口声声说法宝显灵，弄得他看不见顾恺之。其实，顾恺之心里十分清楚，无赖桓玄在玩耍他。但他却不能以卵击石，因为桓玄阴险歹毒，又权倾内外，连其父桓温都惧他三分。顾恺之只好忍气吞声，装痴卖傻，保全身家性命。

痴智

《世说新语》说顾恺之吃甘蔗一反常态。别人从最甜的地方吃起，不甜了就扔掉，而顾恺之吃甘蔗从末梢吃起，越吃越甜，渐入佳境。顾恺之倒吃甘蔗节节甜蕴含了深厚的生活哲理，不能不说是人生的大智慧。

 《晋书·列传第六十二·文苑·顾恺之》

顾恺之，字长康，生于晋陵的无锡。顾恺之的生平事迹，古迹上记载的不多，其中可以凭信的，就是散见于刘义庆的《世说新语》檀道鸾的《续晋阳秋》;丘渊之的《文章录》许嵩的《建康实录》以及《晋史》的中兴等。其次就是集录于《晋书。文苑传》中的《顾恺之本传》。在画史方面，就是张彦远的《历代名画记》《宣和画谱》几种。

 顾恺之出身江南土著氏族家庭，《无锡顾氏宗谱》记载，顾恺之的顾毗，字子治，晋康帝时任散骑常侍，后迁光禄卿；父亲顾悦之，字君叔，历任扬州别驾、尚书右丞。

 Gu Kaizhi (348 - 409), with the character Changkang, Xiaozihutou, Han nationality, Wuxi people in Jinling (now Wuxi City, Jiangsu Province). Outstanding painters, painting theorists, poets. Gu Kaizhi is knowledgeable and versatile. He is good at poetry and calligraphy, especially painting.

Being proficient in portraits, Buddha statues, animals, mountains and rivers, people call them "Three Absoluteness": Painting Absolute, Literary Absoluteness and Absoluteness. Xie An takes it seriously and thinks it's never happened in his life. Gu Kaizhi, together with Cao Buxing, Lu Xuanwei and Zhang Sengxi, is known as the "Four Great Masters of the Six Dynasties". Gu Kaizhi's paintings are intended to convey the spirit, and his arguments of "moving imagination and wonderful idea" and "describing spirit by form" lay a foundation for the development of traditional Chinese painting.

Gu Kaizhi joined the army for Huanwen and Yin Zhongkan.

Yixi (405-418) was first appointed as a regular attendant of Tongzhi Scattered Rider. Liu Yu expelled Nanyan in the north, and Kay wrote "The Worship of the Tooth (Flag)". Many talents, Gong Shi fu, calligraphy, especially fine painting, have a taste of talent, painting, infatuation. Many portraits of people and immortals, Buddhas, animals, landscapes and so on. The painter pays attention to the eye, vividly portrayed from the clouds, all in Adu (that is, this refers to the eyeballs). Taste for Pei Kai's portrait, add three hair on the cheeks, and feel good. In the construction of the Kangwa Coffin Temple, the murals of Vimo Hector are brilliant and sensational. Later generations talked about his painting, meaning to brush first, painting intentionally; handwriting is meticulous, strenuous as spring silkworm spinning. He and Lu Tanwei, the Southern Song painter who followed his example, were called Gu Lu, and they were named close bodies, so as to distinguish him from Liang Sengxu and Tang Wu Taozi in Southern Dynasty. His works include On Painting, Wei and Jin Shengliu Painting Praise, Painting Yuntai Mountain Records. Among them, the ideas of imagination and spirit depiction have a great influence on the development of Chinese painting. The surviving biography of "The Motto of Women's History" is an early copy of Zhang Hua's teachings on restraining court concubines in the Western Jin Dynasty. In 1900, the eight-nation coalition invaded Beijing and was robbed by the British army from the Qing Palace. It is now stored in the British Museum in London, England. Gu's other work, The Motto of Women's History, is a copy of the Song Dynasty.

Gu Kaizhi's works, according to the records of Tang and Song Dynasty, besides some political portraits of celebrities, also painted some Buddhist images, which was a popular part of the theme at that time. In addition, there are birds and animals, which are related to the paintings of the Han Dynasty. He also painted some images of immortals, because that was also a popular belief at that time. The most notable thing is that he painted many portraits of celebrities. This changed the custom of advocating etiquette in Han Dynasty, and reflected the new method of observing characters and the new purpose of artistic expression, that is, to leave etiquette and politics and pay attention to the rich speech and talent of characters. This means the enlargement of the visual field of painting art, thus putting forward a new requirement for figure painting - to express people's personality and spiritual characteristics. In Gu Kaizhi's works and remarks, we can see that he repeatedly emphasizes the description of human spirit and state of mind. Gu Kaizhi, Lu Xuanwei and Zhang Sengxi were the three most important painters in the Northern and Southern Dynasties, representing the rapid development and maturity of figure painting art in the Han Dynasty. Zhang Huai-kuan of the Tang Dynasty highly appraised his paintings. Yun said, "Zhang Seng-kui got his flesh, Lu Xun got his bone, Gu Kai got his god. "