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苏珊·朗格在《情感与形式》中谈到,艺术形式和生命有机形式是异质同构的,二者在逻辑上是相似的。她认为生命形式包括运动性、节奏性、生长性、有机统一性。以米芾作品《苕溪诗帖》为例,运用苏珊·朗格对生命形式的逻辑归纳,试图分析阐述其书法艺术的生命形式和情感体验。透视中国书法艺术的生命性比从生物学角度论述的生命性更具有深刻意义,也为现今多数倾向于描写主观感受的中国古代书画理论提供了可行性研究途径。
Susan Lange said in “Emotions and Forms,” that the organic forms of art and life are heterogeneous, and the two are logically similar. She believes life forms include sportiness, rhythm, growth, and organic unity. Take the example of “Sui Xi Poem” by Mi Gong, using the logical induction of life form by Susan Lange, trying to analyze and elaborate the life style and emotional experience of his calligraphy art. It is more profound to see that the life of Chinese calligraphy is more biologically elaborated than the biological point of view. It also provides a feasible approach to the ancient Chinese calligraphy and painting theory which tends to describe subjective feelings.