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作为唐代书法理论的代表人物,张怀瓘构建了宏大的书法美学理论体系,不仅在书法史上具有十分重要的历史地位,而且亦具有十分重要的美学史意义。其“风神骨气”的审美理想,表征着盛唐美学气象;其“神彩”说则代表着唐代美学理论的高峰;其“神、妙、能”三品的审美评价体系的建立,对后世书画品评和美学理论的建构都具有十分重要的历史影响;其推崇“骨丰肉润”的形式美学观念,确立了后世书法形式批评核心概念和范畴。
As a representative of the calligraphy theory of the Tang Dynasty, Zhang Huai-yen built a grand theoretical system of calligraphy aesthetics, which not only has a very important historical position in the history of calligraphy, but also has a very important significance in the history of aesthetics. The aesthetic ideal of “Fengshen Guqi” represents the aesthetics of Tang Dynasty; the “Shen Cai” theory represents the peak of aesthetic theory in the Tang Dynasty; the aesthetic evaluation of the “God, Miao, Neng” The establishment of the system has a very important historical influence on the later calligraphy and calligraphy evaluation and the construction of the aesthetic theory. It respected the aesthetic concept of “Bone Feng Rou Run” and established the core concepts and categories of later calligraphy criticism.