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时间的特性——秩序性与空间方位上、中、下关系表象在古代书法品评实践中的体现和运用,由此而形成的书法空间立体审美视角,其实质是将感性的书法审美判断转化为由时间和空间组成的内在理性传承结构。体现在公元6世纪庾肩吾书品中的时空观念与欧洲18世纪康德哲学认识论中的物自体提供感性材料与主体自我提供认识形式之观点不谋而合,其理论叙述是对书法时空审美品评实践现象的完美解释。自唐以后,时空观念在与中国传统儒道思想的碰撞与融合中带来“神、逸、妙、能”评定的介入,时空排序在依然保持时空特征的基础上被解体并重构,派系林立,各显主张,其争议也由此而生,逸品的排序列位成为论争的焦点。书法时空审美在清末终结。
The characteristic of time - the manifestation and application of the appearance of upper, middle and lower relations between order and space in the practice of ancient calligraphy evaluation, and the resulting three-dimensional aesthetic angle of calligraphy space, in essence, turns the perceptual aesthetic judgment of calligraphy into The inner rational inheritance structure composed of time and space. The conception of time and space embodied in Shuzhuwu ’s calligraphy in the 6th century coincides with that of the 18th century Kant’ s epistemology of philosophy in providing perceptual material and the subject self - A perfect explanation of the phenomenon of practice. Since the Tang Dynasty, the concepts of time and space have brought in the evaluation of “God, Esteem, Miaowu, and Benevolence” in the collision and integration with the traditional Confucianism and Taoism in China. The space-time ordering is disintegrated and reconstructed on the basis of maintaining the characteristics of space-time , Factions everywhere, all significant advocates, the controversy has arisen, the ranking of Yi goods to become the focus of controversy. Calligraphy aesthetic time and space ended in the late Qing Dynasty.