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回顾本世纪二十至六十年代的书法美学研究,我们深切感到,这支队伍的人数真是少得不能再少了,如此之大的学术界,如此之长的时间跨度,能够让我们今人提起的重要人物(其实也是全部人物)仅寥寥数位(如梁启超、朱光潜、宗白华、林语堂、蒋彝、邓以蛰等)而已。而且,就是这寥寥数位,对书法美学的研究亦未做到持之以恒,他们只是在从事其他学术研究时,顺带论及书法美学问题。因此,他们的书法美学研究只是一种‘有限之偶涉’。但另一方面,他们又凭着自身的学术优势,在‘有限之偶涉’中,创立了一门新兴的书法美学学科,从而极大地拓展了书法理论的研究空间。一、假多向比较高标书法地位时至本世纪初叶,古老的中国书法遇到了前所未有的挑战:一者,它被视为封建的东西而遭冷遇;二者,它缺乏为现实政治服务的功能,不像文学中的杂文能作匕首、作投枪;三者,它在西方艺术那里找不到对应位置,而被某些激进分子斥之为‘非艺术’。因此,其美学地位已‘发发乎殆矣’!正是在这样的
Looking back at the aesthetics of calligraphy in the 20s and 60s of this century, we deeply feel that there are really no fewer people in this team. With such a long period of time in academia, we can now Only a handful of important figures (in fact, all the figures) were brought up (such as Liang Qichao, Zhu Guangqian, Zong Baihua, Lin Yutang, Jiang Yi, Deng Yizhe, etc.). Moreover, it is only a few of these few that the study of calligraphic aesthetics has not been sustained. They are merely talking about the aesthetic issues of calligraphy while engaged in other academic researches. Therefore, their aesthetics of calligraphy is only a kind of “limited co-incident.” On the other hand, they, with their own academic superiority, created a new branch of calligraphy aesthetics in the ’limited couples’, greatly expanding the research space for calligraphy theory. First, the pseudo-multi-level to the relatively high standards of calligraphy status to the beginning of this century, the ancient Chinese calligraphy encountered an unprecedented challenge: one, it was seen as feudal things and was a cold case; both, it lacks the services for real politics Function, unlike literary essays can be used as daggers, for shooting; three, it can not find the corresponding position in Western art, but by some activists denounced as ’non-art’. Therefore, its aesthetical status has been “fat almost fatal!” It is in this way