摘要
在中国古代书论家那里,书法之"神"不是单一的书法作者的主体之"神"或者书法本身的客体之"神",而是二者的有机融汇后所产生的艺境。我国古代的书论家们论书法,有一个从注重"形似"到注重"神似"的过程;由此我们可以看到,老庄的形神理论在我国书法艺术领域里的重要学术地位。
Our ancient penmanship expert thought that the spirit of penmanship isn＇ t subject sprite of penmanship auther or penmanship＇ s object sprite, it＇ s the art mood of their mixxing. Our ancient penmanship expert thought highly of Similarity in appearance at the beginning, and gradually thought highly of Similarity in spirit; therefore we can see the systematic learning position of Lao - Zhuang＇ s appearance - sprite theory in the penmanship art.
出处
《曲靖师范学院学报》
2007年第4期32-35,共4页
Journal of Qujing Normal University
关键词
书法艺术
形神理论
“形似”
“神似”
Apperaance- spirit theory of penmanship
Similarity in appearance
Similarity in spirit
