论文部分内容阅读
线条组织运动中的速度是构成书法形式的重要因素之一。线条运动不外乎两种方式:(一)线条运动的速度变化,即运动的时间形式;(二)线条内部运动的方式,即运动的空间形式。我们通常将第二种称为笔法,这是狭义上的,广义上的笔法当然包括速度变化在内。我们这里专指狭义上的笔法。书法艺术之所以能『一画之间,变起伏于锋杪;一点之内,殊衄挫于毫芒』(孙过庭《书谱》语),其根本原因就在于笔法的复杂性,因此,人们在讨论书法时,谈论得最多的就是笔法,即线条内部运动的方式。初唐以前的书法论著几乎全都是论述笔法的,唐以后才开始了对另一重要的形式因素——线条结构的注意。对于速度,虽然时有言及,却从未有过认真详尽的阐述,而艺术实践告诉
The speed at which lines are organized is one of the important factors that make up calligraphy. Line movement is nothing more than two ways: (a) changes in the speed of the line movement, that is, the form of time movement; (b) the internal movement of the line, that is, the spatial form of movement. We usually refer to the second as a brushwork, which is a narrow one. The brushwork in a broad sense of course includes speed changes. We here refers specifically to the narrow sense of writing. The reason why calligraphic art is able to “change between one painting, and then change its shape to the front; within a little, it is a bit awkward” (the language of the book “Book of Records” by Sun Chaotian) is due to the complexity of the style of writing When talking about calligraphy, the most talked about calligraphy is the way that lines move inside. Almost all of the calligraphic works before the early Tang dynasty were elaborated on sketches, and only after Tang began to pay attention to another important form factor, the line structure. As for the speed, though it has time to talk about it, it has never been elaborately elaborated, and the artistic practice tells