论苏轼书论的美学思想

The Aesthetic Thought of Su Shi's Calligraphy

作为北宋文坛的领军人物,苏轼不仅精通诗词、文赋,而且擅长书法、绘画。他重视书法创作理论,其书论集中在他的书画品评题跋文中。这类文章大都篇制短小,率性而发,兴会所至,不经意而为之,蕴藏着丰富的美学思想。苏轼崇尚"自然天成",认为书家应注重作书的心态,而不能刻意去追求字的"形";他重视"师法"前人,认为书法创作的出新必须以"宗法"为基础,讲求"韵外之致,味外之旨",并融入书者的人格品性,力求达到"书如其人"的境界;与之相应,书法鉴赏者也须具备卓越的见识、高深的造诣以及求实的精神,并坚持"书以人重"的原则。

As the leader among the literary figures in the Northern Song Dynasty, Su Shi was not only proficient in poetry and Wen Fu, but also good at calligraphy and painting. He attached importance to calligraphy theory, which could be found mostly in his inscription texts in the painting and calligraphy works. Those texts are generally quite short, straightforward and spontaneous and abound in aesthetic ideas. Su Shi advocated the idea of ＂natttralness＂ and the thought that calligraphers should pay attention to the mentality in their composition process. They should not deliberately pursue the ＂form＂ of the words. Su Shi focused on inheritance and believed that the new creation in calligraphy must be founded on the ＂patriarchal＂. He put emphasis on ＂the rhyme outside the cause and essence beyond the surface tastes＂ and the personality of the author into the works. He strived to reach the ＂realm of integration of Calligraphy and the composer＂. Accordingly, the appreciation of calligraphy must have excellent insight, profound attainments and truth- seeking spirit and adhere to the principle of ＂personality reveals from the author＇s works＂.