论文部分内容阅读
李泽厚在《美的历程》中说“在中国所有艺术门类中,诗歌与书法最为源远流长,历史悠邈”。诗歌作为语言艺术,从咏叹的那一刻起就烙上了审美的烙印,而作为造型艺术的书法,由于受到工具的限制,从实用向艺术一路走来,最终在美的艺术王国与诗歌殊途同归。书法与诗歌作为两种不同的文化因子,以技论之,有其各自的创作和发展规律,但从道的层面来看,相互生发,多元融合,形成新的审美视觉。作为权威的学术资料,北宋《宣和书谱》中曾提出“诗中有笔,笔中有诗”之说,将诗书契合推向了高度的心灵自觉和艺术呈现。
Li Zehou said in the “Course of Beauty” that “poetry and calligraphy have the longest history and long history in all art genres in China.” Poetry, as a language art, has been branded with aesthetics since the moment of the aria, and calligraphy, as a formwork art, has been restricted by tools and has been moving from practicality to art all along. Ultimately, the art kingdom in the United States has the same purpose as poetry. Calligraphy and poetry, as two different cultural factors, have their own principles of creation and development in terms of techniques. However, from the perspective of Taoism, they have developed from one another and are diversely integrated to form a new aesthetic vision. As an authoritative academic material, the Northern Song Dynasty “Propaganda Book” had put forward “there is a pen in the poem, there is a poem ” in the poem, the poetry and writing fit to a high degree of spiritual self-consciousness and art.