賈師古，生卒年不詳，南宋畫家。汴（今河南開封）人，善畫道釋人物，師法李公麟。高宗紹興時(shí)為畫院祗候。白描人物，頗得閑逸自在之狀。嘗作《歸去來圖》，有所謂“一筆法”，甚古雅。梁楷為其高足，名過其師。傳世作品有《巖關(guān)古寺圖》、《大士像》等。
Jia Shigu, whose date of birth and death is unknown, was a painter of the Southern Song Dynasty. Bian (today's Henan Kaifeng) people, good at painting the interpretation of characters, Li Gonglin under the law. When Gaozong Shaoxing was only Hou of the painting academy. A description of a character is quite leisurely and relaxed. Taste "to return to the map", there is the so-called "one brush", very elegant. Liang Kai was more famous than his teacher for his high feet. His works have been handed down from generation to generation, such as "Ianguan Temple" and "Da Shi Statue".
賈師古人物畫不僅在人物外在形態(tài)上深得傳統(tǒng)造型之精髓，而且在傳神、氣韻、寫心上更是領(lǐng)悟深刻。中國(guó)的傳統(tǒng)繪畫強(qiáng)調(diào)源于物象，但經(jīng)過人的知識(shí)、經(jīng)驗(yàn)、文化、品味等的過濾已超越原來的物象。這個(gè)物象可以說是“君形”，是主觀化了的“形”，這個(gè)“形”除了表現(xiàn)原物象外形，還表達(dá)原物象內(nèi)在精神，表達(dá)作者的情感和精神，是一個(gè)綜合體。
Jia Shigu's figure painting not only captures the essence of traditional modeling in the external form of the figures, but also has a profound understanding in the spirit, charm and writing. Traditional Chinese painting emphasizes the origin of the object image, but through the filter of human knowledge, experience, culture, taste and so on, it has gone beyond the original object image. This object can be said to be "Jun form", is the subjective "form", this "form" in addition to the expression of the original appearance of the object, but also express the original spirit, express the author's emotion and spirit, is a synthesis.
此幅作品為賈師古人物故事圖，全長(zhǎng)9米，其內(nèi)容為三國(guó)中比較經(jīng)典的三顧茅廬典故，三顧茅廬乃國(guó)內(nèi)家喻戶曉的故事了，在此不多做綴敘，整個(gè)畫面古拙而大氣，充滿詩(shī)意。筆法成熟，深沉流暢。設(shè)色明凈淡雅，水、墨、色融為一體。其人物線條極為凝練，均著長(zhǎng)袍大袖，峨冠博帶，衣紋轉(zhuǎn)折處皆作弧形圓轉(zhuǎn)，古雅飄逸，且形容清癯，于寥寥方寸間足見畫家功力之深厚。畫者將高士形象置于景中，一派閑散姿態(tài)。
This "character story map", the whole picture is primitive and grand, full of poetry. The brushwork is mature, deep and smooth. The color is clear and elegant, water, ink and color are integrated. The lines of his characters are very concise, with long robes and big sleeves, and an Eguan belt. All the corners of the garment pattern are curved and round, elegant and elegant. There is no handsome description, which shows the painter's profound skill. The painter will be the image of the high scholar in the scene, a school of idle posture.
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