古代书法的时空审美品评秩序

Space Order of Aesthetic Evaluation from Ancient Calligraphy

时间的特性——秩序性与空间方位上、中、下关系表象在古代书法品评实践中的体现和运用,由此而形成的书法空间立体审美视角,其实质是将感性的书法审美判断转化为由时间和空间组成的内在理性传承结构。体现在公元6世纪庾肩吾书品中的时空观念与欧洲18世纪康德哲学认识论中的物自体提供感性材料与主体自我提供认识形式之观点不谋而合,其理论叙述是对书法时空审美品评实践现象的完美解释。自唐以后,时空观念在与中国传统儒道思想的碰撞与融合中带来"神、逸、妙、能"评定的介入,时空排序在依然保持时空特征的基础上被解体并重构,派系林立,各显主张,其争议也由此而生,逸品的排序列位成为论争的焦点。书法时空审美在清末终结。

Three dimensions aesthetic view was formed by application of order and space relation of up, middle, down of the specilty of time in ancient calligraphy. The truth is that calligraphy aesthetic practice was converted into the rational structure of time and space. The space concept embodied in Yu jianwu works in 6BC is consent to Kant＇ s concept that is material self providing inductive material and subjective providing cognition. Kant＇ s theory is the best explanation for the evluation of calligraphy. Since Tang dinasty, space concept merged with confucious taosim thoughts and ＂shen, yi, miao, neng＂ were birthed out. The characteristics is remained. Different groups owned their ideas the hot topics. The space aesthetic of calligraphy was finished order of space is separated and reconstructed but the and conflicted happened. The order of works became at the end of Qing dinasty.