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自然和心性是书法本体构建中的两个维度,这两方面在历史演变中体现出了明显的阶段性:隋以前,以书道自然为主,唐代表现为心—物的双重建构,唐以后则以书法的心性表达为主。书道自然说在书法本体构建中表现为笔法、结构法则和审美标准等方面的形成,书为心画观念体现为书法对情感、道德、学养等方面的表达。自然与心性是书法的本原,以汉字为对象的形体再塑造是书法的本体,书法正是以汉字为再造对象,自然矛盾的线条化和主体心性矛盾的线条化的结合。
Nature and the nature of mind are two dimensions in the construction of calligraphic ontology. These two aspects manifest obvious stages in the historical evolution: before Sui Dynasty, the book was mainly natural, the Tang Dynasty represented the heart - the dual construction of material, Tang After the calligraphy is the main expression of the heart. In the construction of calligraphy ontology naturally, the performance of calligraphy is manifested in the formation of brushwork, structural rules and aesthetic standards, etc. The concept of heart painting is reflected in the expression of calligraphy in terms of emotion, morals and education. Nature and the nature of the heart are the essence of calligraphy. The reshaping of the body with the Chinese characters is the body of the calligraphy. Calligraphy is the combination of the Chinese characters as the object of re-creation, the linealization of natural contradictions, and the lineal contradiction of the subject.