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《中国书法》二○○一年第七期论坛栏目刊发有毛万宝《当代实践美学视野中的书法美——以李泽厚为个案的书法美学思想考察》的文章(以下简称《毛文》)。毛万宝长期从事书法美学研究,熟知中国书法美学研究的现状,有感于“近十年来,书法美学研究已转入沉潜期,前行步伐放慢,寻求新的突破更是困难重重。”面对中国书法美学这种不温不火的平缓现状,目前的书法美学研究一时半会还难以寻求到新的突破口和生长点,倒不如先来个“回头看”:看看现代意义上的书法美学是如何一步一步
The article entitled “Study of Calligraphic Beauty in the Field of Contemporary Practical Aesthetics - An Investigation of Aesthetic Ideology in Calligraphy by Li Ze-hou” by Mao Wanbao published in the Seventh Forum of China Calligraphy 2001 (hereinafter referred to as “Mao Wen”) . Mao Wanbao has long been engaged in the study of calligraphy aesthetics, familiar with the current situation of the study of calligraphy aesthetics in China. He felt that in the past ten years, the study of calligraphy aesthetics has shifted to the latent period, and the pace of its predecessor has slowed down. It is even more difficult to seek new breakthroughs. Facing the tepid gentleness of Chinese calligraphy and aesthetics, the current calligraphic aesthetics is hard to find a new breach and growth point, so it is better to come back to look back at modern times: The meaning of calligraphy aesthetics is step by step