顧愷之

Gu Kaizhi is regarded as the founding figure of Chinese painting because he articulated the principle that art should transmit the spirit (chuanshen) of its subject rather than merely copy outward appearance. This idea became the theoretical cornerstone of Chinese aesthetics for the next sixteen centuries.

Born around 344 AD in Wuxi during the Eastern Jin dynasty, he served at the court and was known for his eccentricity as well as his talent. Literary sources describe him as equally accomplished in painting, poetry, and wit, earning the nickname Three Perfections.

His most celebrated surviving work (in copy form) is the Admonitions of the Instructress to the Court Ladies, a handscroll now divided between the British Museum and the Palace Museum in Beijing. The scroll illustrates moral lessons for court women through scenes of elegant restraint. Figures are rendered with fine, flowing lines known as spring-silkworm-spinning-silk brushwork, and their expressions and postures convey character and emotion with remarkable subtlety.

The Nymph of the Luo River, another work surviving in later copies, depicts a prince's encounter with a river goddess in a landscape of misty waters. The composition's integration of figure and landscape was innovative for its time and influenced generations of later painters.

Gu Kaizhi's theoretical writings, though surviving only in fragments quoted by later authors, introduced the concept of capturing the spirit through the eyes of a figure, a principle that became central to Chinese portrait theory. His idea that the eyes are the window to spiritual likeness shaped the entire tradition of Chinese figure painting.

He died around 406 AD. Although no undisputed original paintings survive, the copies and the theoretical legacy ensure his foundational status in Chinese art. His insistence that art aims beyond physical likeness toward spiritual truth influenced not only painting but calligraphy, poetry, and garden design across East Asia.