回归到日常“游艺”——柯小刚书法美育思想探析

Return to the Daily “Grabbing Art”—An Analysis of Ke Xiaogang’s Calligraphy Aesthetic Education Thought

柯小刚认为,人之为人的日常生活世界正被逐渐瓦解。这种瓦解体现在许多方面,比如书法教育的方式与内容。柯小刚在书法教学过程中,提倡回归日常的“游艺”书法写作,以“乾坤并建”式的自由对话方式唤醒身体觉知,从而关联天地本源,扩大精神意识空间,实现“成己”、“成物”的生命教育。“游艺”是中国古典文教当中重要的审美思想,日常的书法“游艺”对我们领会华夏先祖的生命情感、古典文教具有重要意义。柯小刚所倡导“游艺”书法,与古人追求安定、圆融的审美理念相合,而与那些刻意“不走寻常路”的审美理念相左。柯小刚的书法教育思想暗涵了他对世界存在本有秩序的肯认,以及恢复人的自然日常生活的愿望。

Ke Xiaogang believes that people’s daily life is gradually disintegrating, which is reflected in many aspects, such as the way and content of calligraphy education. In the process of calligraphy teaching, Ke Xiaogang advocates returning to the daily grabbing art, awakening the body’s awareness by means of the Qiankun and Bingjian with free dialogue, thus relating to the origin of heaven and earth, expanding the space of spiritual consciousness, realizing the life education of becoming one-self and make all things to be themselves. Grabbing art is an important aesthetic thought in Chinese classical literature education, and the daily calligraphy is of great significance for us to understand the most basic daily emotion and classical culture. Daily grabbing art advocated by Ke Xiaogang is consistent with the ancient people’s aesthetic concept of pursuing stability and harmony, and is in-consistent with those aesthetic concepts of taking an unusual road deliberately. Ke Xiaogang’s thoughts on calligraphy education implicitly contain his recognition of the original order of the world and his desire to restore man’s natural daily life.