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在中国书法院召开的基于书法实践基础上的学术思考研讨会上,多数研究员认为,当代书法的大方向是值得肯定的:植根传统,创新发展,多元包容,健康稳定是主方向。以继承为主的书法创作水平有所提升,书法展览和收藏市场助推了书法发展、书法教育和书法理论研究,在行政的推动下向纵深延伸。存在的问题是:心理浮躁;书法创作的表皮化,以炫技为主的展厅效应对书法本体的误导;各地发展的不均衡;书法理论批评与书法创作的脱节以及西方设计理念对中国书法的冲击等等是中国当代书法存在的现实问题。大家还对书法本体研究,书法文化内涵追寻,与国家形象相匹配的笔墨形象,当代书法转型,书法的语言、审美及文化性,篆书是书法走出去的首选书体,人书合一,真善美是书法的最高标准,精英与大众,市场与公益,创新与继承,批评与尊重等方面进行了阐述。
At the symposium on academic thinking based on the practice of calligraphy held by the Chinese Calligraphy Institute, most researchers think that the general direction of contemporary calligraphy is worthy of recognition: the rooted tradition, innovative development, plural tolerance and healthy and stable orientation are the main directions. The level of calligraphy, which is mainly inherited, has been raised. The calligraphy exhibitions and the collection market have boosted the development of calligraphy, calligraphy education and calligraphy theory, and have been extended under the impetus of the administration. The existing problems are: the impulsiveness of the mind; the epidermalization of calligraphic writing, the exhibition hall effect based on the technique of dazzle, the misleading of the calligraphic ontology; the unbalanced development in different places; the disjunction between the calligraphic theory criticism and calligraphy creation and the western design concept’s influence on Chinese calligraphy Impact and so on are the realistic problems in contemporary Chinese calligraphy. We also study the body of calligraphy, the tracing of the connotation of calligraphy and culture, the image of ink and brush matching the national image, the transformation of contemporary calligraphy, the language of calligraphy, the aesthetic and cultural qualities. Is the highest standard of calligraphy, the elite and the general public, the market and public welfare, innovation and inheritance, criticism and respect, and other aspects were described.