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“新历史主义”是指站在超越文字单一记载的广度之上,透视文字本身之外的事实,来诠释文化内涵,还原事物真相。上世纪八十年代初在欧美兴起了这种文艺思潮,并随后在中国各类文艺作品中实现“本土化”。当代这种文艺批评理论已然渗透到小说、诗歌、戏剧、影视、书法、绘画等多种艺术形式中。但对于通过具体的艺术表现方法来实现艺术之宗旨的论述,确为鲜见。本文立足“新历史主义”视角,对中国书法艺术的“继承”与“创新”、书法“传统”、继承传统与书法创新之间的关系等有争论的议题重新作了审视。
“New Historicism ” refers to standing beyond the breadth of a single record of the text, beyond the perspective of the fact that the text itself, to interpret the cultural connotation, to restore the truth of things. The early eighties of last century in Europe and the United States raised this trend of literature and art, and then in all kinds of literary and artistic works in China to achieve “localization ”. Contemporary theory of literary criticism has infiltrated into many art forms such as novels, poetry, drama, film and television, calligraphy and painting. However, it is indeed rare to discourse on the purpose of art through concrete methods of artistic expression. Based on the perspective of “New Historicism ”, this article researches the controversial issues such as the relationship between “inheritance ” and “innovation ”, calligraphy “tradition ” and the relationship between inheritance and calligraphy in Chinese calligraphy art Made a review.