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(续上期)以上我们从书法家的创作经验中揭示书法的意象特征,下面我们再从批评家的理论中探寻书法审美特征的奥秘。唐代书法批评家张怀璀在他的《书断·序》中颇有见地地提出书法的审美特征;“昔庖羲氏画卦以立象,轩辕氏造字以设教,至于尧舜之世,则焕乎有文章。”“文章之为用,必假乎书,书之为征,期合乎道,故能发挥文者,莫近乎书。”张氏提出了他以前的许多古代理论家不曾有的认识:(一)书法创造之前,画卦象征自然界和人事中各种现象。
(Continued) The above we learn from the calligrapher’s writing experience of the image of the characteristics of calligraphy, and then we explore the criticism of the theory of calligraphy aesthetic characteristics of the mystery. Zhang Huai-cui, a calligrapher in the Tang Dynasty, put forward the calligraphic aesthetic features in his Book Dissemination Preface. “The Xi Gu Xi’s paintings are based on stereotypes and Xuanyuan’s characters are used for teaching. As for Yao and Shun , Then there is an article. ”“ The article is used, will be fake books, books for the collection, the period of appropriate, it can play the writer, not much of the book. ”" Zhang raised many of his previous Ancient theorists do not have the understanding: (a) before the calligraphy, painting the hexagons symbolize the natural world and personnel in a variety of phenomena.