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中国书法作为中国传统艺术之一,是中国人在长期的汉字书写实践中逐渐认识和重视其中所包含的美的因素,并更加自觉地强调和讲求,才使汉字书写发展成为一门世界上独特的视觉艺术。书法艺术发展至今天,有不少现象令人困惑,需要我们去研究探讨,陶钧先生所谓“飞地”书法是指介于书法边缘地带与西方抽象绘画等现代艺术之间的一类“书法”作品,也有人用“现代书法”的概念来进行涵括。作者依照与传统书法的血缘关系的不同,将“飞地”书法划分为四类,并谈了自己的见解。 印章不能脱离书法,通常人们习惯把印章艺术看作是书法艺术的一个部分。李志坚先生对印章美学思想的萌发初成时间提出了自己的看法,并从刀法审美、章法审美、字体审美三个方面对中国印章美学思想之变迁过程进行了探索。 本期“学人档案”介绍的杨仁恺先生是我国当代著名书画鉴定家、美术史学者。他的研究成果和提出并运用的“比较研究法”,为书画鉴定发展成为一门科学作出了贡献。
As one of the traditional Chinese arts, Chinese calligraphy is a factor that Chinese people gradually recognize and value the beauty contained in long-term practice of writing Chinese characters. They also emphasize and emphasize more consciously to develop Chinese writing into a unique visual art. Calligraphy Art Today, many phenomena are puzzling and require us to study and explore. The so-called “enclave” calligraphy by Mr. Tao Jun refers to a type of “calligraphy” between the marginal zone of calligraphy and modern Western art, Works, others also use the concept of “modern calligraphy” to be included. In accordance with the different blood relationship with traditional calligraphy, the author divides calligraphies into four categories and talks about his own opinions. Seal can not be separated from calligraphy, usually people used to seal art as a part of the art of calligraphy. Mr. Li Zhijian put forward his own opinion on the time of germination of stamp aesthetic thought and explored the process of the change of Chinese stamp aesthetic thought from the aspects of aesthetic of knife and knife, aesthetic of chapter and aesthetic of fonts. Mr. Yang Renkai, introduced in this issue of “Academic Personnel Archives”, is a famous contemporary painting and calligraphy appraiser and art historian in our country. His research achievements and the comparative research method proposed and applied have contributed to the development of calligraphy and painting appraisal as a science.