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在易象思维模式构成对中国文化艺术的整体观念笼罩之后,象与意的关系便成为书法理论批评史上的一个母题。不过,在魏晋以前,象与意一直处于一种自洽的融合状态,还未出现对象或意的单维强调——所谓立象见意,象与意共同构成对书法阴阳运动变化法则的揭示和规定。自魏晋开始,随着庄禅一体化的玄学的勃兴,象与意的关系开始发生显著变化,即由宇宙本体论向人格本体论转化,对意的关注构成书法理论的内核。
After the formation of the Yi-like thinking model has enveloped the overall concept of Chinese culture and the arts, the relationship between the image and the meaning becomes a motif in the history of the theory of calligraphy criticism. However, before the Wei and Jin dynasties, the elephant and meaning had always been in a state of self-consistent integration, and no unidimensional emphasis on the subject or the intention had not appeared yet - the so-called legislative vision, the elephant and the intention jointly constituted the rule of the yin and yang movement in calligraphy Revealed and regulated. Since the Wei and Jin dynasties, with the rise of the metaphysics of the integration of Zhuang and Zen, the relationship between the iconic and the meaning began to change dramatically, that is, from the ontology of the universe to the ontology of personality, and the concern of the intention constitutes the core of calligraphy theory.