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书法作为我国传统文化艺术中的一朵奇葩,确实内涵丰富,博大精深,具有无穷的艺术魅力。如何从书法艺术的产生、演变和发展的社会文化背景中加以辩证唯物论韵研究,这确实是我国书法理论界所孜孜以求的课题。坦诚地说,这种探求在近十年的时间里已经取得颇为丰硕的成果。但在对其概念、术语、范畴等一些基础理论问题的界定和标理上,却长期以来还较少有人涉及,而且往往还表现为一种感情式的片言只语,缺乏科学的归纳和演绎、分析与综旨、历史与逻辑的统一。由此在书法理论研究领域,也就相对地产生了一种徘徊和茫然的局面。近读郑岳华同志所撰写的《试析中国书法艺术的线条美》(详见《浙江工艺美术》1993
As a wonderful flower in traditional culture and art in our country, calligraphy really has rich connotation, broad and profound, and has infinite artistic charm. How to study dialectical materialism from the socio-cultural background of the birth, evolution and development of calligraphy art is indeed a subject that China’s calligraphy theory community diligently pursues. Frankly speaking, this quest has made quite fruitful results in the past decade. However, in the definition and standardization of some basic theoretical issues such as its concepts, terms, categories and so on, it has not been involved for a long time, and often appears as a kind of emotional gossip with a lack of scientific induction and deduction , Analysis and comprehensive purpose, the unity of history and logic. Thus in the field of calligraphy theory, it also relatively produced a wandering and dazed situation. Nearly reading Comrade Zheng Yuehua’s “Analysis of the Beauty of Calligraphies in China” (for details, see “Zhejiang Arts and Crafts” 1993