明代行草书中的“取象”与“行气”——兼论其笔法过度“露锋”“重心不稳”等问题

“Capture of Images” and “Circulation of Qi” in Ming Dynasty Cursive Calligraphy:A Discussion on the Problems of “Exposured Tip” and “Unstable Center of Gravity”

明代书法中出现的过度“露锋”“重心不稳”等笔法问题,与当时书法的“取象”方式和“行气”的性情抒发密不可分。首先,书家转变观看视角,以探索别样的艺术感觉。其次,书家贯注唐诗的“生命原则”,注重以书法形式表现唐诗境界,推动书体变革。最后,明代“气”与“理”的本体论关系变化,强化了“行气”的力量感。因此,明代书家作品中出现的各种笔法问题或是有意为之,且与当时尚“奇”的审美风尚有关。

The issues of excessive “Exposed tip” and “Unstable center of gravity” in Ming Dynasty calligraphy are intimately linked to the era's unique “Capture of images” methods and the emotional expression embodied in “Circulation of Qi”.Firstly,calligraphers shifted their viewing angles to explore alternative artistic sensations,deviating from conventional norms.Secondly,they imbued the “life principle” of Tang poetry into their calligraphy,emphasizing the depiction of Tang poetic realms through calligraphic forms,thereby driving the transformation of calligraphic styles.Lastly,the ontological relationship between “Qi”(vital energy) and “Li”(reason/principle) underwent significant changes in the Ming Dynasty,enhancing the sense of power and dynamism in “Circulation of Qi”.Consequently,the various brushwork issues in Ming Dynasty calligraphy works that persisted may have been deliberate artistic choices,reflecting the era's aesthetic preference for the “unconventional” and “extraordinary”.