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破体,作为中图古代的一种书艺形式,曾大盛于晋唐。王羲之、王献之、王珉、李邕、颜真卿等大书家都留下了破体杰作。由于破体是杂体而书异体同书,自科举取士以来越益为法有规范的官书所不取,明清以降尤遭台阁馆阁们的贬斥。但它又始终以其特有的魅力活跃于艺林突现于书坛。如苏东坡、郑板桥的书风为世所重,即借助“破体”之力。时至今日,传统的“书法”已逐渐退出实用领地,然而,汉民族汉文化的这一独特的审美精灵又以其神奇的生命力、亲和力、适应力,叩响并开启了更为广阔的艺术之门。如果说以实用为基点的“法书”让位于“艺术之书”是合乎逻辑的必然,那么破体作为一种书的艺术在现代再度兴盛和发达亦是可想而知的。日本东洋书道艺术学会会长,文学博士松本筑峰先生数十年来以弘扬王羲之,颜真卿的破体精神为己任,作出了卓有成效的贡献,为此,荣获了“大韩民国社会教育文化大赏”(1992.12)。他的独特的破体书道观和破体书道史论对于中国书家的现代探索一定亦有裨益。
Broken body, as a form of ancient Chinese art book, had Sheng in the Jin and Tang Dynasties. Wang Xizhi, Wang Xianzhi, Wang Min, Li Kui, Yan Zhenqing and other big books have left a broken body masterpiece. Since the body is broken and the body is different from the same book, the more and more since the imperial examinations, the law and order are not taken from the government. In the Ming and Qing dynasties, it was especially disgraced by the Taiwan cabinet. But it has always been its unique charm is always active in Yi Lin suddenly appeared in the book altar. Such as Su Dongpo, Zheng Banqiao’s style of writing for the rest of the world, that is, with the help of “broken body” power. Today, the traditional “calligraphy” has gradually withdrawn from the realm of practical use. However, this unique aesthetic spirit of Han Chinese culture, with its magical vitality, affinity and adaptability, kicks and opens up a broader art The door. It is also conceivable that the art of breaking a body as a kind of book flourished and developed in the modern age if it is logical and logical to let the “law book” based on practicality be allowed to fall in the book of art. For many decades, Mr. Matsumoto Tsuyoshi, president of Japan Toyo shokudo society and doctor of literature, has made fruitful contributions to promoting Wang Xizhi and Yan Zhenqing’s tidbit spirit. For this reason, he won the “Award of Social Education and Culture of Republic of Korea” 1992.12). His unique theory of tao body and taoist theory of Taoist body will certainly benefit the modern exploration of Chinese calligraphers.