书法文化(中英文)

单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,*,书法,文化,翻译,吴卉,2010. 11. 21,History of Calligraphy,Pre-Qin Calligraphy: Obscure, Mysterious and Unique,Shang dynasty,oracle-bone inscriptions,(Anyang, Henan.,Hidden Turtle in the Iron Cloud),Pictograph,Pre-Qin Calligraphy: Obscure, Mysterious and Unique,Bronze inscriptions,phonograms,Pre-Qin Calligraphy: Obscure, Mysterious and Unique,Spring and Autumn period:,Stone drum inscription,Kang Youwei: “the origin of,calligraphic rules”,书法第一法则,Set up the criterion for large,script which is the precursor,of small seal script,Calligraphy of the Qin and Han Dynasties: Standard and Elegant,Li Si: abolished different forms and made small seal script official script for the whole nation.,Round stroke; same thickness; tenacity,Calligraphy of the Qin and Han Dynasties: Standard and Elegant,Calligraphy on bamboo or wood slips and silk: also known as ancient clerical script, which is a transitional form between ancient script and modern script.,Calligraphy of the Qin and Han Dynasties: Standard and Elegant,Qin Dynasty: Cheng Miao “clerical script”,Han Dynasty,Transformation of clerical script,Calligraphy of the Qin and Han Dynasties: Standard and Elegant,Cai Yong: “flying white” style,Calligraphy in the Wei, Jin and Southern &Northern Dynasties,Wei kingdom period: Zhong Yao, originator of regular script,楷书之祖,Eastern Jin, Newness and grace,（新妍）,replaced simplicity and clumsiness.,Wang Xizhi: regular script and running script (Preface to the Literary Gathering at the Orchid Pavilion),Wang Xianzhi: cursive script,Calligraphy in the Wei, Jin and Southern &Northern Dynasties,Stele inscription of the Northern Dynasties and rubbing calligraphy of the Southern Dynasties (,北碑南帖,),Wei stele inscription,Calligraphy of the Sui and Tang Dynasties: fresh , profound and magnificent,Sui Dynasty: transitional period,Zhi Yong: regular and cursive,script,Thousand-character Essay,Calligraphy of the Sui and Tang Dynasties: fresh , profound and magnificent,“Four masters of the Early Tang Dynasty”,欧阳询，虞世南，褚遂良，薛稷,Calligraphy of the Sui and Tang Dynasties,“Three Outstanding Calligraphist for Cursive Script”,唐草三杰,贺知章 张旭（,Crazy Zhang,） 怀素（,light ink,）,Calligraphy of the Sui and Tang Dynasties,Mid-Tang: Emperor Li Longji,唐玄宗,preferred full and round writing style,颜真卿 柳公权,“,the muscles of,Yans calligraphy,and bones of,lius”,Calligraphy of the Song and Yuan Dynasties: slow but steady progress,Feudal society not booming; Confucianism, Taoism and Buddihism,Calligraphic style: in pursuit of expressiveness (project ones real interest and intention in the art of calligraphy, shake off the fetters left by the Tang dynasty),Calligraphy of the Song and Yuan Dynasties,Four Great Song Calligraphers,宋四家,苏轼 黄庭坚 米芾（,Crazy Mi, strong cleanliness, fond of dress from the Tang, stone as brother,） 蔡襄,Calligraphy of the Song and Yuan Dynasties,Southern Song continued the style of the Northern Song calligraphy,Four Great Southern Song Calligraphers,南宋四家：陆游，范成大，朱熹（,denies the expressiveness-pursuing calligraphers,），张孝祥,Calligraphy of the Song and Yuan Dynasties,Yuan dynasty: Kublai Kahn advocated for classic calligraphy, “returning to the ancients”,复古思想,Zhao Mengfu, one of “Four Grand Masters of Regular Script”,Different opinions,Calligraphy of the Ming and Qing Dynasties,Ming: “Taige Style”,Qing: Wenziyu (imprisonment due to writing),Calligraphy weaker and humbler,Prevailing of epigraphy, priority to stele inscriptions,Calligraphy of the Ming and Qing Dynasties,Ming dynasty: Wumen School,吴门书派,Seemingly an effort to bring back the tradition of valuing the regular style and writing regular style but in essence, it is a correction of defects seen in the works in the early Ming dynasty.,祝允明，文征明,Huating Calligraphers,华庭书派 董其昌,Calligraphy of the Ming and Qing Dynasties,Late Ming: emancipation of individuality,徐渭,: cursive style,“Four Masters of Late Ming Dynasty”,晚明四大家： 张瑞图，董其昌，邢侗，米万钟,Early Qing: continued the trend toward innovation,傅山， 张板桥,Calligraphy of the Ming and Qing Dynasties,Golden Era for Calligraphy in the Qing Dynasty,书道中兴,包世臣 “,the number on of the Qing dynasty”,天朝第一,seemingly clumsy strokes,stele inscriptions,中国书法与文化,书法与周易哲学,“,易,：以道阴阳。”,乾卦：纯阳,坤卦：纯阴,一阴一阳之谓道,阴阳相济才能臻于天地宇宙的大和谐，所以，要保持食物的多样性，让各种差异能够在整体的和谐中并行不悖，达到“和而不同”。,书法与周易哲学,用笔的“阴阳相应”，以笔之动为阳，以墨之静为阴；以笔取气为阳，以墨生彩为阴。（比如大和小，方和圆，疏和密。）,褚遂良,阴符经,柔中带刚，,既有韧劲和骨力,书法与周易哲学,周易,的卦爻符号及其有限，可谓意象“至简”，但是所谓易道广大，表意甚丰。,周易,中的言象互动系统，对于中国美学和艺术的最大意义，就在于易简的思想，用晦的思想。它认为，言不尽意，必须立象以尽意。“,象,”，直接启迪着中国艺术家去扩大意象符号的意义空间，而这正是中国艺术意象理论的核心。,书法与周易哲学,书法是抽象，概括的。,以简易蕴含丰美,它形式最为简单，最单纯，最抽象，只不过是一些单纯的点画往来，线条连绵，色彩也不过是最简单，最素朴的黑白二色，但是，在其中却蕴含着最概括，最丰富的生命意趣。,书法与气化哲学,中国气化哲学认为，气是生命的本原，是“体之充也”。,书法里要具有气，唯有这样，书法才是活生生的，才充满了生命的精神和情趣。,书法与气化哲学,布白：虚空即气,中国人对于虚空，空白持有与西方不同的态度。,西方：接受现实的物质世界。西方艺术：充满着对于可见世界美妙景象的感受。对于自己不能利用或对付的东西退避三舍。对“虚”， “空”这些概念和观念保持距离。,道家：用“虚”， “空”等概念按时和象征“道”，重视这种使万物成为一体并为其提供能量的道，渴望天人合一。,西方：以繁盛为美,道家：以空灵为美 “无”就是气，气就是生命,米芾，春山瑞松图 虚灵飘荡之气,书法与儒家哲学,毛笔的特性：柔软,书法家在书写中能创造出无穷的变化。但又有刚健的力量，即其弹性。,该特性契合了儒家文化。“儒”字从文字学的观点来看，是“柔”也，是人之所需。（从需字旁的字，都有“柔软”之意。孺子，若米，懦弱，蠕动。）孔子：仁爱,孟子补充“义”的力量，学术性，人性应该遵循的道理。,“发乎情，止乎礼”（笔尖的触动即情，笔法的规范制约即礼。）,颜真卿，颜氏家庙碑,浑穆博大，雍容开阔的楷书，是法度的典范，也是感情的充实。,儒家的励精图治，今宵金钟，恪尽职守的崇高的责任感。艺术以典正为要，及思想性第一，艺术性第二。内容，经世致用，官场文书,书法与儒家哲学,心正则笔正，人品即书品,儒家文化：伦理文化。,书法的美归结为书法家人格的美。,柳公权：“心正则笔正。”,正面例子：颜真卿，柳公权,反对者认为：秦桧，王铎，人品颓丧，但书艺高超。,道家：艺术史自我性灵抒发的手段，是在现实世界实现精神逍遥的途径。,书法与儒家哲学,逆与顺，儒道之别,道家：顺应世界，委运任化，是无已的哲学。“顺”（老子是外柔而内刚，以退为进，庄子则是渗入骨髓的柔，“无己”将顺发挥到了极致。）,儒家：推行自己，改造世界，是有己的哲学。“逆”,书法：逆笔和顺笔的结合，但一位的平顺，又会缺乏活力和朝气。包世臣：赵孟頫书法专用平顺，一点一画，一字一张，排次顶接而成。,守拙,书法与老子哲学,文明发展的悖论,老子：文明的发展对人类本真状态的破坏，呼唤要回归到自然而然的本真状态。,大巧若拙,孙过庭：由质到文，由拙向巧的发展史符合事物发展规律的。他是妍美思想的鼓吹者。,行草书行笔果敢利落，放锋收锋都迅捷痛快。,张怀瓘批评孙过庭：用笔“伤于急速”，而主张文质相参，华质相半，巧拙兼济，古今谐和。,守拙,书法与老子哲学,金石味与枯拙美,傅山：极力批评明末董其昌,和元代赵孟頫的书法，,认为他们只有奇巧。,“,宁拙勿巧，宁丑勿媚”,飘逸,书法与庄子哲学,庄子：“无己”，即“丧我”,晋人的艺术，是一种超然绝俗的美。它朝野了道德的标准，而游心于一个原理人间社会的精神世界。区别于入学的根本点，与“法天贵真，不拘于俗。”,王羲之：不沾滞于物,王献之：妙在一个“逸”字,飘逸,书法与庄子哲学,庄学和玄学不仅表现在用笔的简，还表现在用墨的淡。,恬淡的寂寞的人生里流出的美,董其昌：书法笔淡墨淡意更淡,源泉是心志的淡泊。,妙语,书法与禅宗哲学,禅宗的,顿悟说,，直接启发了中国古代美学和艺术思维中那种重只管和静观，重感悟和兴发的倾向。艺术中的,妙悟,，就是一种审美感兴，是在外物直接感发下所产生的审美情趣的心理过程。,董其昌，十分信仰一书中那种“以超直入如来地”的妙悟方式。,书法与绘画,象：中国艺术之本。不同于西方的符号论，也不同于西方的形式抽象，而是要捕捉大自然中的“动象”，要表现主题内心变动不居的“心象”。来源于,周易,的卦象。,书法与绘画,张迁碑：行笔迟涩，雄厚古拙，类似松树梅花枝干或藤蔓的苍老虬结,曹全碑轻盈流畅，飘逸生动，类似绘画中柳枝和衣褶的飘拂舒展。,书法与印章,吴昌硕 一生钟爱,石鼓文,，,以其笔法融入书法，,绘画和篆刻中。,“钝刀硬入”的艺术精神。,书法与音乐,韵,书法中节奏是表现为笔画线条的长短，曲直，粗细变化的承接。,时间性体现在笔序上。一笔书,篆书：笔序不严格，空间形象的生动。绘画,隶书：抽象形式美。雕塑，建筑,楷书：融入一些时间性的因素，但仍以空间感为主。,草书：时间性进一步发展。强化笔序，化静为动。音乐和舞蹈,书法与舞蹈,张旭,公孙大娘,剑器,舞,飞，飘带，一气的思想,书法与建筑,中国建筑：梁柱结构,对称性，中轴。篆书，隶书，楷书（颜真卿）,但又在追求一种生命的秩序，在不平衡中求得一种精神的活动空间和生命的欢快悦适。,飞檐，翼然亭。隶书,语料库,翻译理论,论文涉及的其他理论,引用网站,图表,问卷,