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自古至今,关于书法美学的研究,妍蚩杂糅,条目纠纷,或讲结构之美,或述笔法之妙,或言章法之精,或议文义之通,或重情意之达,遂令初学者茫然。本文从形、意、情三个方面对书法美学的视角进行了归纳性的总结与研究。如果说写形是从技术层面来解决中国书法审美的自发性问题,写意则是对中国书法审美趋向自觉的阐释,而“写情”是书法创作的最高境界,是对中国传统哲学自然而然的最好解读。但是不讲形、抛弃意的感情是空洞的,虚假的,注定是不能给人带来审美体验的。
Since ancient times, there has been a great deal of interest in the study of calligraphic aesthetics, the blend of etymology, the controversy in terms of items, the beauty of structure, the beauty of calligraphy, the essence of scripture, At a loss This article summarizes and studies the angle of calligraphic aesthetics from three aspects: form, meaning and feeling. If writing is to solve the spontaneous issue of Chinese calligraphy aesthetic from a technical perspective, freehand writing is to interpret the aesthetic tendency of Chinese calligraphy consciously, and “writing love ” is the highest level of calligraphy creation and natural Chinese traditional philosophy The best interpretation. But not shape, abandon feelings of feelings is empty, false, doomed to not bring aesthetic experience.