散怀恣性 物我同一——论蔡邕的书法生态美学思想

Cai Yongs Ecological and Aesthtical Thinking of Calligraphy

蔡邕书论从艺术创作的基本规律出发,开创性地指出了书法的艺术本质,并进一步提出创作主体回归本源,以自然之心写自然之道,物我合一是书法佳作生成的前提条件与必然归宿。这种书法的自然本体论以丰富的生态价值观奠定了中国书法的美学基础,也以朴素的系统生态美学观———道论,使人在艺术美的熏陶与认同中,共同建构美妙和谐的诗性世界。

From the elementary regularity of artistic creation, Cai Yong initiately points out the essence of art,and he holds that the harmony of man with nature is the inevitable goal and presupposition of creating a fine calligraphical works, by the subject returning to the origin, by the way of man depicting the way of heaven. Such a theory of natural subject, featured with its tremendous amount of value of ecology and its simple and systematical aesthetic view of ecology, establishes the aesthetics of Chinese calligraphy and urges people to build together a harmoniously poetical world with the influence and consensus of artistic beuaty.