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林语堂说,书法是训练抽象气韵与轮廓的基本艺术。在中国艺术史上,书法的自觉要早于绘画,而且,无论是其理论还是创作都对绘画产生了深刻的影响,本世纪以来,随着艺术对现实、对人生的关注和硬笔的普及,这种情况有所变化。 在当代,一方面是书法队伍急剧膨胀,一方面是多数“从业人员”学养不足;一方面是繁荣热闹有余,一方面是它正在从艺术中心游离,这是书法的悲哀,还是时代步入了误区?相信历史会有一个公正的评价。 书法批评的匮乏,映照出书坛对自身反思与认知的严重不足,这里编发的一组文章,不可能涉及书法面临的所有问题,只是在当代书坛吹捧盛行、江湖气泛滥之时,能稍稍提供一些艺术理论、艺术批评的观照和大的的文化审视。 最后想提醒一句:书坛存在的上述问题,是否在画坛也能找到类似的踪迹?
Lin Yutang said that calligraphy is the basic art of training abstract rhyme and silhouette. In the history of Chinese art, the consciousness of calligraphy is earlier than that of painting. Moreover, both theory and creation have had a profound impact on painting. Since the beginning of this century, with the concern of art over reality and life, and the popularization of hard writing, this The situation has changed. On the one hand, there is a sharp expansion of the calligraphy team on the one hand; on the other hand, most of the “practitioners” lack of schooling; on the other hand, it is full of prosperity and prosperity. On the one hand, it is being freed from the arts center. Is this the sadness of calligraphy or is the era entering? Mistakes? I believe there will be a fair history of evaluation. The scarcity of calligraphic criticism reflects the severe deficiencies of the book altar in rethinking and cognition. A series of articles compiled here can not involve all the problems that the calligraphic faces. Only when the contemporary calligraphy bulls prevail and the rivers and lakes overflow, Slightly provide some art theory, artistic criticism and a large cultural perspective. Finally, I would like to remind one: the existence of the book above the problem, whether in the painting can find a similar trail?