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反思三十年以来的中国现代书法,主要有着三种基本形态:第一种是传统书法的余绪,仅仅是传统各种书法风格的混杂,这在当前的各种流行书风中泛滥;第二种则是书法的图像绘画化,成为墨像与书像,无法摆脱日本现代的少字与单字的形式视觉语言;第三种则是文字的观念化,主要是从中国汉字的独特构造出发,传达方块字的独特信息,以至于沦为了设计。无疑,这三种方式,都并没有彻底转换书法的书写性,也没有从书法以及书法所具有的精神上真正创造性转化。但我们在陈光武的书法作品上看到了中国当代书法转换的最为彻底的原创性。
Reflections on the three decades of modern Chinese calligraphy mainly reflect three basic forms: the first one is the remnants of traditional calligraphy, the mere mixture of traditional calligraphic styles, which prevail in various current popular book styles; the first The other two are the pictorialization of calligraphy, becoming the image language of the ink and the book, which can not get rid of the formal visual languages of modern Japanese minor characters and words. The third is the conceptualization of characters, mainly starting from the unique structure of Chinese characters , Convey the unique information of the square word, so reduced to design. Undoubtedly, none of these three approaches completely changed the written nature of calligraphy nor did it really transform itself into a spiritually creative writing and calligraphy. However, we have seen in Chen Guangwu’s calligraphic works the most radical original Chinese calligraphy translation.