《画云台山记》是顾恺之的一篇谈论作画前的一种设计和规划。此画论中讲到“画天师瘦形而神气远,据涧指桃,回面谓弟子……又别作王,赵趋,一人隐西壁倾岩,余见衣裾;一人全见室中,使轻妙泠然。凡画人,坐时可七分,衣服彩色殊鲜微,此正盖山高而人逺耳。”看似在要求作画者要如何描绘人物,其实是在强调神态的突出。所以从《画云台山记》我们不仅知道从此时开始古人已经对于山水画有了一定的想法,同时还知道传神从一开始就是被我国画家所重视的。 “Painting Yuntaishan Ji” is a piece of Gu Kaizhi’s talk about painting before a design and planning. In this painting, it is said that “the skies are thin and fantastic, according to Jianzhu, which means the disciple ...” See the room, so light and wonderful. Where painting, sitting can be seven minutes, the clothes are slightly different colors, which cover the high mountains and ears. “Seems to ask the painter how to portray characters, in fact, Emphasize the demeanor. Therefore, from ”Yuntaishanjianji", we not only know that from this moment onwards the ancients had some ideas about the landscape painting, but also learned that the dedication was valued by Chinese painters from the very beginning.