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一在书法学习时,我发现在“三”字的标准楷书写法中,三横的长短合于3:2:5的黄金比,“聿”字五横的长短合于3:8:3:2:5的黄金比。溯本求源,在甲骨文和金文中,“三”字的三横等长,“聿”字象形,如手执笔,长短随形。自汉代隶书以来在审美潜规则的淘选下,两字结构才开始改变,并逐渐定型为这种终极的美学定式。我认为这不仅是一个个案,其规律是具有普世的美学价值的。此后在邓散木等人的著作中我发现了更多的证据。
During the study of calligraphy, I found that in the standard script of the “three” characters, the length of the three horizontal lines is 3: 2: 5, and the length of the three horizontal lines of “” is 3: 8: 3: 2: 5 the golden ratio. Tracing the origin of this book, in Oracle and Jin texts, “three” characters of three horizontal and equal length, “yu ” the word shape, such as hand writing, the length with the shape. Since the official script in the Han Dynasty, under the panning of unspoken rules of aesthetics, the structure of the two characters began to change and gradually became the ultimate aesthetic formula. I think this is not only a case, the law is universal aesthetic value. Since then I found more evidence in the writings of Deng Sanmu et al.