中国书法“自然天趣”论在创作中的运用

“自然天趣”是古代文艺创作追求的最高艺术境界,亦是中国书法根本性的美学精神,涉及书法的起源、创作、风格、审美、心性等诸多方面。本文梳理历代书法文献中的“自然”,指出书法与自然之间的关系由肇于自然发展至同乎自然、师法自然,再到造乎自然的演进线索,继而将书法创作论中的“自然天趣”归结为“无意于佳乃佳”与“熟后求生”两个方面。“无意”是“自然天趣”的基础,要求创作主体排除一切功利的目的,在书写中保持心闲意澹的精神状态,避免刻意安排。“熟”是“自然”的条件,由“生”到“熟”,进而追求“熟后之生”,是到达“自然天趣”境界的必由之路。本文通过对“无意于佳乃佳”与“熟后求生”内涵的解析,说明二者在书法创作中的具体作用。

"Natural"is the highest artistic realm pursued by ancient literary and artistic practice,and it is also the fundamental aesthetic spirit of Chinese calligraphy,involving the origin,creation,style,aesthetics,and character of calligraphy.The article combs the"nature"in the calligraphy literature of the ancient dynasties,and points out that the relationship between calligraphy and nature has evolved from originating in nature to being in harmony with nature,learning from nature,and then creating the evolutionary clues of nature.Then,this article summarized"nature"in theory of calligraphy practice into"Without intention of being good can be perfect"and"The pursuit of non-skilled after being skilled",and analyze its connotation and role in calligraphy practice.