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谈谈书法“魏晋古法”源流析论

发布时间: 2008-10-27


预读:on’ of the zhuan script ’towing pne’ arisen by the formation of the p script configurations of strokes, and on the final formation of the regular script (kaifa). Morever, by comparing the formal features of characters in the texts written on bamboo, silk and paper fragments with those of famous c谈谈书法“魏晋古法”源流析论
论文中文摘要:魏晋(220—420)在书法史上有重要的地位。而在经过了千年天灾人祸的毁佚,我们实难窥见代表书法最高成就的魏晋二王书风的真相。如何有效的理解历史中流传的书迹,如何在各种风格间建立起逻辑的关联,是摆在每一位书法探讨者面前的难题。本论文拟以对“魏晋古法”的讨论为中心,对书法风格演化进行描述,以期提出一种书法风格描述的方式,并在此基础之上尝试对某些相关书学观念做出新的诠释。论文首先对书法的核心不足——“法度”进行了语意浅析。“法”体现了人对事物的认识,“书法”是对“书写”的自觉,“笔法”是对“笔触”形式的发现。以人类认知的角度,本论文对书法法度的性质与书法形式演变的理由等进行了探讨。“魏晋古法”体现为一定历史时期汉字书写的特殊运笔方式。作为类名,“魏晋古法”是对由“隶势”向“楷法”转变历程中种种笔法范式的总称。“隶势”打破了“篆引”笔法的视觉平衡,反映了人们对“书写”的自觉。而以“楷法”的建立为标志,汉字形态融纳了书写的内容,同时在视觉重新建立其新的平衡。本论文以“隶势”对“篆引”的解散与“楷法”的最终成熟为主要脉络,以民间简帛残纸书迹与名家法书的形式比勘为策略,对书法风格进展史上的重要现象进行了浅析,以期获得对“魏晋古法”的总体印象。“楷法”形成以后,人们面对的不再是书写本身,而是如何再现一定的视觉形象。这种转变构成了“魏晋古法”在唐宋时接受与流变的主要线索。如何处理“书写”与“法度”两者之间的联系,成为后期书法史上一系列基本观念逻辑展开的起点。

【English Abstract】 The Wei [(220-265)] and Jin [(265-420)] dynasties occupy an important position in the history of [Chinese] Calpgraphy. Though, after over a thousand years of natural disasters and human destruction, we cannot see the real appearance of the calpgraphic style of the Two Wangs [Wang Xizhi (303-361) and his seventh son Wang Xianzhi (344-386)], which represents the highest achievement of Chinese calpgraphy. How to interpret with efficacy the works trasmitted by history and how to estabpsh the logical correlations between the various calpgaphic styles, are two difficult questions for the scholars of Chinese Calpgraphy. This dissertation aims to provide a descriptive scheme for the evolution of calpgraphic styles; furthermore, on such a methodological basis, this text attempts to explain certain calpgraphic concepts relating to the evolution of the calpgraphic styles.This dissertation firstly analyses the pnguistic meaning of the word ’rules’ (fadu), which is one of the essential questions for Chinese Calpgraphy (shufa). The word ’fa’ (rule, technique) represents men’s cognition of things and events, ’shufa’ (calpgraphy) is the consciousness of the action of ’writing’, while ’bifa’(technique of the brush) consists in the reapzation of the visual possibipes of the ’bichu’ (brushwork). From a cognitive point of view, this thesis researches the nature creation of ’regularity’ in Chinese Calpgraphy and the causes of the formal evolution of Chinese Calpgraphy.The p script configuration of strokes (pshi) broke the visual balance of the zhuan script towing pne (zhuanyin), thus reflecting the acquirement of consciousness during the action of ’writing’ . With the formation of the regular script (kaifa), Chinese characters have summarized and condensed the contents the new formal possibipties of the action of ’writing’. At the same time Chinese characters have created a new visual ’force’ balance. This study focuses essentially on the ’dispersion’ of the zhuan script ’towing pne’ arisen by the formation of the p script configurations of strokes, and on the final formation of the regular script (kaifa). Morever, by comparing the formal features of characters in the texts written on bamboo, silk and paper fragments with those of famous calpgraphers’ autographs, this dissertation analyses the crucial events questions in the development of the calpgraphic styles.After the formation of the ’regular script’ (kaifa), what people had to face was no longer the action of ’writing’ (shuxie) itself, but the re-creation of certain estabpshed visual forms . Therefore, in the following history of Chinese Calpgraphy, how to manage the relationship between the action of ’writing’ (shuxie) and ’rules’ (fadu) became the starting point for a logical unfolding of a series of basic concepts.

【关键词】 书写; 法度;
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