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一当前,书坛理论界有几个问题争论得火热。为了使传统的书法艺术焕发出新的生机,产生新的面容和仪表,有人主张淡化传统、经典意识,把王羲之的『书圣』降格为『手杖』,宣称『二王』再好,也只是我们的一根手杖,手杖一根,如此而已。』书法要创新,必须到民间采风。(《书法》二○○四年第五期:《经典临摹与民间采风》)但是,反对者的意见也随之而来,强化经典、传统意识,认为『手杖』说离经叛道,荒诞不经。说『先辈所以对经典法帖如此痴迷,是他们深知书法传统的深厚内蕴和巨大的借鉴意义。』『攀登书法的艺术高峰,舍此没有别的途径。』(《中国书法》二○○五年第七期:《经典、传统与书法艺术的源泉》)这一争论又和另一场关于书法艺术美的源泉的笔
At present, there are several issues in the theory of book circles that have been hotly contested. In order to rejuvenate the traditional calligraphy art and create new faces and instruments, some people advocate the downplay of the traditional and classic consciousness and downgrade the “Book of Sacredness” of Wang Xizhi to a “walking stick,” declaring that “the two kings” One of our canes, a cane, that’s all. Calligraphy to innovation, folk songs must be collected. (Calligraphy, Issue 5, 2004: “Classical copying and folk collecting of winds”) However, opponents’ opinions also followed, strengthening the classic and traditional consciousness and saying that “canes” were transgressive and absurd. Saying that “such ancestral obsession with the classic Fateh is the profound connotation and great referential significance of their understanding of the tradition of calligraphy. ”There is no other way to climb the artistic peak of calligraphy. (“Chinese Calligraphy, Issue 7, 2005:” The Source of Classic, Traditional and Calligraphic Arts ") This controversy is again linked to another pen on the origins of calligraphic art beauty