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三顾恺之对维摩诘像的变革和创新,对当时和后世也有同样大的影响,晋至梁的佛像创造基本上是戴式加顾式。《历代名画记》卷二记:“顾首创维摩诘像,有清羸示病之容,隐机忘言之状。”这就是说顾恺之画的维摩诘像是清瘦的,有一种病态之美,顾之前的佛像,如前所述,就考古发现,都是天竺秣菟罗的风格,人形是略圆而微胖的,但这不合于中国人的审美要求。中国人物画自周秦以来都是细腰清瘦的。魏晋时,士大夫多服药,加之社会动荡,杀伐频仍,人在恐俱和四处奔波中生存,大多是消瘦的,
The changes and innovations made by the Three Kingdoms to Vimalakirta have the same great influence on the time and in the future. The creation of the statues of Buddha to Jinliang is basically based on wearing plus style. “History of famous paintings in mind,” Volume II mind: “Gu pioneer Vimalakirti image, there Qing Qing show disease content, the form of hidden machine forgetting.” This is to say that Gu Kailai Vimalakirti is thin, there is a The kinds of morbid beauty and the Buddha statues before Gu are as mentioned above. As far as archaeological discoveries are concerned, they are all in the style of Tianzhu. The human figure is somewhat rounded and slightly fat, but this is not in conformity with the Chinese aesthetic requirements. Chinese figure painting since the Zhou Qin thin slender waist. When the Wei and Jin Dynasties, the scholar and doctor more than medicine, combined with social turmoil, frequent killings, people living in fear and running around, mostly thin,