“逆入平出”说技法论及其美学辩证性

The Theory and Aesthetic Dialectics of the "NiRuPingChu"

当代对于包世臣的研究以其书学思想居多,对其技法理论的探析则较少。包世臣向来被认为有扬碑而学帖、碑眼看帖、推崇铺毫而轻视裹毫等问题,但其依然承袭着乾嘉年间书坛的重"法"观念。文章从包世臣"逆入平出"这一技法论的剖析,引申出包氏在注重法度的基础上体现出书法艺术技巧的美学辩证性,从而说明技法与审美二者互为依存的紧密关系。

The contemporary study of Bao Shichen is in the majority of his calligraphy thought, but the technique theory is less. Bao Shichen has always been considered praised monument and learning copybook,through monument to study copybook,respected Pu Hao（the Chinese brushes will be scattered When writing down） and despised Guo Hao（Against the writing direction to draw）.But he still inherited the calligraphy ＂law＂ concept in the dynasties of Emperors Qianlong and Jiaqing.From the analysed about thetheory of Bao Shichen ＂Ni Ru Ping Chu＂,then discussed the Calligraphy art skills and aesthetic dialectical features,on this basis of he attached importance to the ＂Law＂.In the end, it shows the close relationship between technique and aesthetic appreciation.