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本文从观者与作品的关系出发,讨论书法作品评价标准产生的基础和前提,即书法作品的意义阐释机制。作品导向的意义阐释机制认为,书法作品的意义植根于作品本身;书写者导向的意义阐释机制认为,书法作品的意义植根于书写者及其时代;观者导向的意义阐释机制认为,书法作品的意义植根于观者。本文认为,观者自带审美体系,而且对抽象的书法作品来说,观者是能动的合作者。在观者与作品互动的过程中,作品和观者都会发生变化:作品经由观者产生意义,观者的感受模式经由作品得以调整。
Based on the relationship between the viewer and the work, this article discusses the basis and premise of the evaluation criteria of the calligraphic work, that is, the meaning interpretation mechanism of the calligraphic work. The significance of the work-oriented interpretation mechanism that the meaning of calligraphy is rooted in the work itself; writer-oriented meaning interpretation mechanism that the meaning of calligraphy is rooted in the writer and its era; viewer-oriented meaning interpretation mechanism that calligraphy The meaning of the work is rooted in the viewer. This article argues that viewers bring their own aesthetic system, and for abstract calligraphic works, the viewer is an active collaborator. In the process of interaction between the viewer and the work, both the work and the viewer change: the work produces meaning through the viewer, and the viewer’s feeling mode is adjusted through the work.