做为一个实践家和教育家,我长期以来有一个要探讨的问题,即艺术语言的语法问题。这里指的不是戏剧语言或者模仿的语言,而是一种全面的、包罗万象的含义。这是一种媒介,运用这种媒介,人类得以互相了解。首先谈一下一般和个别的艺术种类在进行艺术创作时的表现方法,这对于字体、版面设计和书籍装帧是实际有效的方法。艺术形式的多样性是无止境的,我们无法把它们全部包括进去。它们内部可以感觉到的语法也不能代替超出逻辑范围的直觉,但是它的确能够科学地,至少是部分地有助于检验创造性的艺术活动。在艺术创作过程中实际存在的直觉这一概念,当然不应把它理解为与逻辑是对立的或者是神秘莫测的。直觉或者叫做“恍然大悟”,只发生在从事研究和探讨的科学家和艺术家身上。直觉,在获得创作过程或者创作思路的答 As a practitioner and educator, I have long had a problem to explore: the grammar of the art language. This is not a dramatic language or an imitative language, but a comprehensive and all-encompassing one. This is a medium through which human beings can understand each other. First of all, let’s talk about the ways in which general and individual art types perform artistic writing, which is a practical and effective way for fonts, layouts, and book binding. The diversity of art forms is endless, and we can not include them all. Grammar that they can feel within can not substitute intuition beyond the scope of logic, but it does, at least in part, help to test creative artistic activity scientifically. The concept of intuition that actually exists in the process of artistic creation should not, of course, be understood as antithetical or mysterious to logic. Intuition or “sudden realization” occurs only to scientists and artists engaged in research and discussion. Intuition, access to the creative process or creative ideas answer