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本文试图以古代星象学的空间图形和风水学说的理想空间理念,解释(传)梁武帝“龙跳天门,虎卧凤阙”一语,以证明此语评价王羲之书法的精准性和确切性。同时,通过进一步的辨析,亦在说明六朝时期有可能存在着一种与后世完全不同的书写和观看书法的空间理念:在道教“众神卫形”思想的影响下,王羲之书法有可能按照一种“众神卫象”的理想空间组织原则进行创作。后人之不解、羲之书法之不传皆与此有关。
This article tries to explain the accuracy and exactness of the calligraphic evaluation of Wang Xizhi by using the language of the ideal space of ancient Chinese astrology and Feng Shui theory Sex. At the same time, through further analysis, it also shows that there may exist a space concept of writing and viewing calligraphy completely different from later generations under the influence of Taoism and “Gods and Wells” ideology. It is possible that Wang Xizhi’s calligraphy In accordance with a kind of “Gods and Weights ” ideal space organization principles for creation. Future generations do not understand, Xi’s calligraphy is not related to this.