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置于“书法”之前的是“文化”,这本无疑可问,“书法”本来就是“文化”的事,说“书法”是“文化”的,是因为它首先是外显了“汉文化”的精神,它携带的是“道昌气明,则文自盛”“书法”自古以来就与“文化”最亲近,最亲善,最传情。 身为浙江《美术报》总编的朱国才与书法结缘虽与他大学时代的文化背景相关,但从本质说,是于他的精神文化信仰,一种包含于“汉文化”情节的诠释方式相紧密。在朱国才的思想里,“书法”是文化人对“文化”的重构形式,是“文化”处在过去与今天的中介,是怀古思今的桥梁,自觉跌入“汉文
It is no doubt that “calligraphy” was originally “cultural” and that “calligraphy” was “cultural” because it first of all revealed “Chinese culture ”It carries the spirit of“ Taoism, then the text from the Sheng ”“ calligraphy ”since ancient times and“ culture ”the closest, most friendly, most teaser. Although Zhu Gucai, the editor-in-chief of Zhejiang “Art Newspaper”, is associated with the cultural background of his college age, it is essentially his spiritual and cultural beliefs, a way of interpretation contained in the “Han culture” plot close. In Zhu Guocai’s thought, “Calligraphy” is a cultural person’s reconstruction of “culture”. It is the intermediary of “culture” in the past and the present. It is the bridge of the past and present, and falls into "Chinese