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欧阳询对唐代书法的贡献是双重的。他的险劲书风一反温醇的二王魏晋风采,而开一代新风;另外,他对书法结构——扩大为空间研究的成就是戛戛独造的。中国书法的艺术觉醒是在东汉末期。早期的书法只是作为实用文字工具而存在,而书法艺术却需要强烈的线条意识。故尔到唐初,对线条美的研究大有人在,而结构却被人遗忘了。唐代书法的发展使书家们意识到:书法艺术的结构观与作为工具的文字结构观不能相提并论,因此有必要在取得线条美的研究成果后再反馈到结构领域中来。欧阳询的“排叠”
Ouyang inquiry on the calligraphy of the Tang Dynasty is a double contribution. His dangerous book style is the second generation of the Wei and Jin dynasties, which opens a new generation of fresh air. In addition, his achievements in the field of calligraphy and expansion into space research are unique. The artistic awakening of Chinese calligraphy was in the late Eastern Han Dynasty. Early calligraphy existed as a practical writing instrument, but calligraphy art required a strong line of consciousness. In the early Tang Dynasty, many people were studying the beauty of lines, while the structure was forgotten. The development of the calligraphy in the Tang Dynasty made the bookmakers realize that the structural view of calligraphy can not be compared with the word structure as a tool, so it is necessary to feed back to the field of structure after obtaining the research results of line beauty. Ouyang inquiry “stack ”