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(1)朋友说书法的欣赏是种形容词之间微妙关系的判断,我却认为是一种态势!唐人形容卫夫人书法如仙女登台,红莲映水,端的看不到行迹,也真是浪漫,在书法的具象与想象的具象之间,分明存在着抽象,却摸不着。中国书法在语意朦胧的审美体系里存活了两千年,原先以为这个审美体系是直的,接着以为是曲的,慢慢才感觉这个审美体系是“水势”的,是上有源头,下有归宿的“水势”,是阐发妙微,动静中和的“水势”,“是万般柔中柔万般,倏忽猛蛟翻千船”的“水势”。
(1) My friend said that the appreciation of calligraphy is a judgment of the subtle relationship between adjectives, but I think it is a kind of situation! The Tang people described Mrs. Wei’s calligraphy as a fairy on the stage, Between the figurative and the figurative figurative of calligraphy, there is a clear distinction between abstraction and touching. Chinese calligraphy survived two thousand years in a hazy aesthetic system. Originally, it was thought that the aesthetic system was straight and then thought it was a song. It gradually felt that the aesthetic system was “water potential” The “water potential” is the “water potential” that elucidates the subtle, dynamic and neutral “water potential” and “it is a soft, gentle and soft one that suddenly turns a thousand jiao into a thousand ships.”