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一引論1、本文雖然是專論黃庭堅書法藝術之作,但深感今日書法界世風日下而其中最致命之處乃是所謂的“創新”(無根浮萍,浪言創新的無知者),所以在此我依然本着早年拙作《中國書法史論》(1988年人民日報出版社第一版)論及“宋人尚意”的書法史觀,以爲黃庭堅是宋人尚意中的翹楚——創新之重鎮。職是所關本文藉在論述黃庭堅書法藝術的同時,尚存一點月旦當今創新的春秋筆意。另外,對黃庭堅的評介,從大書法文化圈而論,當然本文仍是論述黃庭堅書法藝術之個案,基本上也適用與黃氏同一水平的其它書法大家。
I. INTRODUCTION 1. Although this essay is a monograph on the art of calligraphy by Huang Tingjian, it is deeply felt that the most deadly part of calligraphy circles in today’s world is the so-called “innovation” (rootless duckweed, So here I am still in the early years of my humble work “History of Chinese Calligraphy” (1988 People’s Daily Press First Edition) on “Songsyiyi ” calligraphy history view, that Huang Tingjian Song people still the best leader - - a center of innovation. The job is related to this article by discussing the art of Huang Tingjian calligraphy at the same time, there are still a few months of innovation in today’s Spring and Autumn meanings. In addition, the review of Huang Tingjian, from the large circle of calligraphy and culture, of course, this article is still a case of Huang Tingjian calligraphy, basically the same level and applies to other calligrapher.