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民国时期的书法批评绝大多数仍沿袭传统模式,但也不乏具有创见性的观念出现,其中张宗祥、刘咸炘、弘一、丰子恺、林语堂等人开始对古代的书法评价方式予以反思,明确反对“以古近定优劣”以及“以派别分高下”的观点,并尝试用西方美学和艺术学原理来对书法普遍规律和评价标准进行总结,“线条”“构图”“力学”等词汇逐渐运用到书法批评话语中来,对批评家自身的素养和态度也提出了更高的要求。笔者认为,这些理论成果的出现标志着现代书法批评理念初步形成,在中国书法批评史的发展进程中具有极为深远的价值和意义。
In the Republic of China, the vast majority of calligraphy criticism still followed the traditional model, but there are also some innovative ideas appear. Among them, Zhang Zongxiang, Liu Xiangyuan, Hongyi, Feng Zikai, Lin Yutang and others started to reflect on the ancient calligraphy evaluation method, In the viewpoints of “ancient and recent superiority and inferiority” and “dividing by faction”, and tries to summarize the universal law of calligraphy and evaluation criteria with the principles of Western aesthetics and artistry, “line” composition “” Mechanics "and other words gradually applied to the calligraphic criticism discourse, critics of their own literacy and attitude also put forward higher requirements. The author believes that the emergence of these theoretical achievements marks the initial formation of the concept of modern calligraphy criticism in the history of the development of Chinese calligraphy has a very far-reaching value and significance.