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自汉代扬雄以“书,心画也”的理论为先导,涉及心、言与书的问题提出之后,历代的书法理论著述中,诸如孙过庭、张怀瓘、朱长文、项穆、刘熙载等书论家,对“书为心画”均有不同程度的诠释与辨析。本文立足于基础史料文献,试从书法史发展的角度,对“书为心画”概念缘起、历史观念变迁进行重新厘定,以期在学术史意义上对当代书法史论的继承与创新进行反思。
Since the Han Dynasty Yang Xiong to “book, heart painting also” theory as a guide, involving the heart, words and books after the issue, the calligraphy theory in ancient books, such as Sun Chaotian, Zhang Huai, Zhu Changwen, Xiang Mu, Liu Xizai Other book critics, on the “book for heart painting” have different degrees of interpretation and analysis. Based on the basic historical documents, from the perspective of the development of calligraphic history, this article attempts to redefine the concept of “book for heart painting” and the historical concept change, with a view to carrying on the inheritance and innovation of the contemporary history of calligraphy in the academic history sense Reflection.