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为了矫正南宋末流摒弃古法、随意挥洒,以至于书风日益单薄的颓废现象。赵孟頫作为元代书法盟主在时代的孕育之下终于崛起,书坛由此进入一个“复古”的时代,“书宗二王”作为一种社会风尚、一种艺术主张,成为元代书法主流意识的代名词。但是我们在梳理书法史时,却发现其中隐含着这么一条审美规律:一种代表性书风在未达到其影响的峰值之前,会始终顺着一条既定的范式骎骎向前,但是,当其衍化为一种社会风气,以狂飙式的方式蔓延、敷衍整个艺术界时,则必然会孕育起以之相对的、公众厌倦排斥的普遍心理,以至于人们的审美意识充满了矛盾、对峙、动荡,此起彼伏而无绝衰。这就是推动艺术风格朝多元化发展的隐性因素。
In order to rectify the end of the Southern Song Dynasty to abandon the ancient law, free to sway, so that the book style increasingly meager decadent phenomenon. As the calligrapher of the Yuan Dynasty, Zhao Meng-tu was finally born under the influence of the times. The book of calligraphy thus entered an era of “vintage”. As a social fashion and an artistic proposition, Zhao Meng-tu became the Yuan Dynasty Synonymous with the mainstream of calligraphy. However, when we comb through the history of calligraphy, we find that there is an implied aesthetic rule that a representative style of writing always follows a predetermined paradigm before it reaches the peak of its influence. However, when Its evolvement is a kind of social ethos. When it spreads in a hurricane style and perfuncties the whole art world, it is bound to give birth to its relative psychology that the public are tired of exclusion. As a result, people’s aesthetic awareness is full of contradictions and confrontations, Turmoil, one after another without declining. This is a hidden factor in promoting the diversification of artistic styles.