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沙孟海先生提出“斜劃緊結”體勢與“右手執筆”自然書寫直接相關的觀點,具有重要的理論意義,啓迪我們把筆勢和體勢置于漢字筆順與右手執筆這個方法論構架内去考察,對照書法作品,深入分析“斜劃緊結”體勢的審美特性,探索正體“斜劃緊結”體勢驅動横向筆勢總體轉向爲縱向下行,致使新形態的字勢、字組、字行、章法的産生與發展,極大擴展了書法藝術的表現力,這是漢晋書法順應社會需要而便捷化發展的内部機制,王羲之今體是“右手執筆”自然書寫與便捷書寫的典範。“右手執筆”是書法藝術書寫性的支點,决定了書法藝術的審美特性。
Mr. Sha Menghai put forward the viewpoint that the relationship between physical strength and “natural writing” is closely related to “natural writing”, which has important theoretical meaning and enlightens us to put the potential and physical attitude in the methodology of strokes and right-handed writing of Chinese characters To study and contrast the calligraphic works, to deeply analyze the aesthetic characteristics of “Slanting knot”, exploring the overall “Slanting knot” posture-driven horizontal gesture as the vertical downward, resulting in a new form of potential , The formation and development of the word group, the word line and the chapter law greatly expanded the expressive force of calligraphy art. This is the internal mechanism of calligraphy adapted to the needs of the society in the Han and Jin Dynasties. The style of Wang Xizhi is “writing by the right hand” A model for easy writing. “Right-handed writing ” is the fulcrum of calligraphic art writing, which determines the aesthetic characteristics of calligraphic art.