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随着对道家思想研究的进一步深入,道家思想对我国古代书法的影响也日益表露出来。道家思想一个重要的基本点就是重无轻有,道法自然,入道通灵,技进于通,这种思想经过老庄阐发之后,深深地渗透到了古代一些书法家、书论家的文化心理结构之中,潜移默化地影响了他们的书法实践及书学总结,从而为我国古代书法的发展和美学特色的形成提供了一定的哲理启发。一、道家自然观对书法的影响先秦道家认为,“道”是一种无形无象,自本自根,极尽玄妙的形上存在。它超越一切具体的事物,但它又无所不在,它不仅是宇宙衍生之本原,同时还是人和万物变化之根基。
With the further study of Taoism, the influence of Taoism on ancient Chinese calligraphy is also increasingly revealed. One of the most important basic points of Taoism is to emphasize that there is no such thing as ignorance, natural Taoism, psychic penetration, and skillfulness. After the elaboration of Lao Zhuang, this kind of thinking deeply infiltrated the culture of some ancient calligraphers and calligraphers Psychological structure, the subtle influence on their calligraphy practice and book summary, which for the development of ancient calligraphy in China and the formation of aesthetic characteristics provides a certain philosophical inspiration. First, the Taoist view of nature on the calligraphy of the pre-Qin Taoist believes that “Tao” is an intangible, self-rooted, extremely mysterious shape exists. It surpasses all concrete things, but it is ubiquitous. It is not only the origin of the universe, but also the foundation of the changes of mankind and all things.