生成、初变与坚守:古代书法文化的审美理想摭谈

The Origin, Initial change and Persistence: on the Aesthetic Ideal of Ancient Calligraphic Culture

反溯文化观念史,古代书法文化的实践群体与华夏文明的实践群体同为史官集团。于是古代书法文化在实践过程中逐渐生成了自然之美与人事之善合一的审美理想,在视觉上则表现为犹如一个生命单位的形象特质。孔子之后,随着士阶层对史官职能的替代,书法主体的道德性和书法本体的艺术性则逐渐由合一走向分离。在这一转变过程中东汉及魏晋的书法史论家们率先意识到了古法“守一”逝去的危害,并力图对古代书法文化所生成的理想范式进行坚守,然而书法艺术自身却以巨大的热情拥抱现实,走向了多元并存的新时代。

Tracing back the history of cultural concept,it can be noted the practice group of ancient calligraphic culture and that of Chinese civilization are the same group called historiographer clique.Thus,the ancient calligraphic culture developed an aesthetic ideal in practice integrating the beauty of nature and the artisanship of human to present its distinct features as an individual living creature in visual aspect.After Confucius,the functions of historiographer were replaced by the literati;and the morality of calligraphy subject was gradually detached from the artistry of calligraphy entity.In this transformation,the historians and critics of calligraphy in the Eastern Han Dynasty and Wei-Jin Dynasties were first to be aware of the harm of abandoning the commitment of“Shouyi”in the ancient way and attempted to persist it with ideal paradigm generated by the ancient calligraphic culture.Meanwhile the art of calligraphy itself embraced reality with enormous enthusiasm and ushered into a new era of pluralism.