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杨简继承了陆九渊的心学思想,提出以“毋意”为中心的一系列心学修养理论,并在此基础上形成了强调发于本心的文艺思想。就书法言,他以“毋意”心学为理论内核,对魏晋以来放情逸“意”的书风给予有力批判,提出合于正道的书美追求。其“毋意”书学思想无疑是对宋人尚意书风的纠偏与反拨,在书法审美旨趣上与苏、黄等文人书法走上不同的道路,从而形成两种对立的书法美学范式。对此学界尚未有人注意,笔者即欲对杨简之书学思想进行深入探讨,从而挖掘其在文艺思想史上的意义。
Yang Jian inherited Lu Jiuyuan’s thought of psychology, put forward a series of psychology cultivation theories centered on “no meaning ”, and on this basis formed a strong emphasis on the literary and artistic thought sent to the heart. As to calligraphy, he used the theory of “not mind” as the theoretical core and gave a powerful criticism of the style of writing “love” and “meaning” since the Wei and Jin Dynasties. His “no meaning ” calligraphy thought is undoubtedly the rectification and callback to the Song style of writing, and on the aesthetic appeal of calligraphy, he embarks on a different path with calligraphers such as Su and Huang, thus forming two opposite calligraphic aesthetics paradigms . In this field, no attention has been paid to this field. The author wants to explore Yang’s calligraphy thoughts in depth so as to explore its significance in the history of literature and art.