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笔法论在书坛甚嚣尘上,似乎书法艺术中笔法可以解决一切问题,于是,为数众多的人聚在一起,视笔法为当代书法艺术的救世主。这样的背景,我是不愿意看到的。对艺术作品技法与技巧的过分解读,是艺术滑向雕虫小技的开始。对中国戏曲史稍有常识的人,对明清传奇剧会有记忆,那种煞费苦心的情节设计、华丽的布景、夸张的表演,并没有留住观众的心。观众需要栩栩如生的人物形象、鲜明的人物性格、深邃的思想,这是艺术作品的审美属性。这一属性一旦被舞台外部效果取代,在短时间可以让观
It seems that calligraphy can solve all the problems in the calligraphy art. As a result, a large number of people come together to see the calligraphy as the savior of contemporary calligraphy art. This background, I do not want to see. The over-interpretation of techniques and techniques in works of art is the beginning of the art slips to the art of carving. People who have a little common sense about the history of Chinese opera have memories of the legends of the Ming and Qing Dynasties. The painstaking plot design, magnificent scenery and exaggerated performances do not keep the hearts of the audience. Audiences need vivid character images, distinctive character and profound thoughts, which are the aesthetic attributes of the artwork. Once this property is replaced by the external effects of the stage, in a short period of time can let the concept