【摘 要】
：
“中和”被中国古典美学奉为至高境界,追求均衡和谐,无过无不及。在书法艺术领域中成为“帖学”正统的典范,闪耀着审美理想的光辉,同时又作为高妙的思辨方式在古代书法发展史
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“中和”被中国古典美学奉为至高境界,追求均衡和谐,无过无不及。在书法艺术领域中成为“帖学”正统的典范,闪耀着审美理想的光辉,同时又作为高妙的思辨方式在古代书法发展史中发挥了兼收并蓄、承前启后的重要作用。由于当代社会人们思想的活跃、审美的多样性,既有利于对各种风格流派表现形式的探索,又容易缺少调控创新方向的参照,而参照的失去势必带来思维的混乱与创新的盲目、盲从。本文通过分析“中和”的利弊,发掘其积极的层面,希望“中和”在当代书坛的作用不再是约束创新的规范,而是“尚古出新”的基石与跳板。
“Neutralization” is regarded as the supreme realm by Chinese classical aesthetics, pursuing equilibrium and harmony, and beyond. In the field of calligraphy art, it became the orthodox model of “Tie Xue”, shining the gloriousness of aesthetic ideal, and at the same time, played an important role in the history of ancient calligraphy. Due to the active and aesthetic diversity of people in contemporary society, it is not only conducive to the exploration of various genres’ manifestations, but also lacks the reference for regulating innovation direction. The loss of reference is bound to bring chaos of thinking and blindness of innovation, Blindfolded. By analyzing the pros and cons of “neutralization”, this paper explores its positive aspects and hopes that the role of “neutralization” in contemporary calligraphy is no longer the norm of restraining innovation, but the cornerstone and springboard of “ancient and new”.
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