頁籤選單縮合
題名 | 論蘇東坡書法美學思想=The Aesthetic Thoughts in Su Dung-Po's Calligraphic Art |
---|---|
作者 | 朱孟庭; | 書刊名 | 國文學誌 |
卷期 | 3 民88.06 |
頁次 | 頁263-283 |
分類號 | 942.099 |
關鍵詞 | 宋代; 尚意; 美學; 思想; 書法; 蘇東坡; 蘇軾; Song; Mind-writing; Aesthetics; Thought; Calligraphy; Su Dung-po; Su Shi; |
語文 | 中文(Chinese) |
中文摘要 | 在中國古代書法美學史上,宋代為一個重要的轉捩點,而標舉著這一新風氣的首要人物即為蘇東坡。其一,他認為書法的本質功能在於抒情表現,若從書寫者自身的角度而言,它是一種娛樂、遊戲,寫字僅是「自樂」的一種方式;若從外界的情境而言,創作的主體在於心姪,外界事物的影響乃在於對心靈的感發、觸動,而觀賞者方可由作品感染到書家創作時的心境。其次,他認為書法是生命人格的創造體現,它是神、氣、骨、肉、血五者合一的一個完整的生命形象,同時也體現了書家的人格修養。其三,主張以意為書的創作方式,認為一切由心出發,要以心法出新意,由頓悟而通意,融合各家之長,化為自己的養分。其四,講求神韻的審美效能,一方面主張學書以神似為貴,要能自出新意,有自我的神態與風格;一方面又推崇蕭散簡遠的自然韻味,形成「外柔內剛」的特殊風格。其五,不拘泥於形式美的規律。在不避諱醜的認知下,表現了「攲側怒張」的審美境界,並進一步主張美的多樣性與條件性,認為美不具有固定的形態,而在先天條件上是要突破藝術形式的難度,才能說是具有該形體的美。 |
英文摘要 | In the classical history of calligraphic aesthetics, the Song Dynasty is an important turning point. Su Dung-po蘇東坡 is the most important person representing a new development of the calligraphic art. First, he thinks the essential character of this art is to express one's emotion. From the calligrapher's point of view, calligraphy is a kind of entertainment, a kind of game, and a way of entertaining oneself only. From the point of view of the emotional constitutive outside, however, the subject that is doing the writing is the calligrapher's mind. The influence of the constitutive outside provokes the mind, and appraisers sense the calligrapher's mood when looking at his works. Second, Su believes that calligraphy is the realization of life, for it combines spirit, breath, bone, flesh, and blood, and thus is able to present a complete image of life: it shows the calligrapher's personal character. Third, Su invents a new art to write, calling this "mind-writing"以意為書. Everything should begin from the heart. One writes with a new mind, attained through an enlightened heart. The calligrapher should attempt to incorporate the merits of all the schools of this art. Fourth, Su advocates the aesthetics of spiritual efficacy: one should attain a high spiritual level without losing his personal character, but a call from Nature is also desirable--lonesome, loose,simple, and distant蕭散簡遠 forming a special style of "gentle outside but firm inside" 外柔內剛. Fifth, form is not critical; at times aberrance must be recommendable. He thus develops the aesthetics of emotional disfigurement, proposing that true ugliness, even extreme sensibility, can also attain beauty. He further suggests that under different circumstances versatility can also achieve beauty. Beauty should not have a fixed form. To attain the original beauty for a body and an age of a thing, the artistic form should first be destroyed and then rebuilt--the most difficult thing to do for an artist. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。