“势”“意”“骨”“神”

发布时间：2018-01-19 09:46

本文关键词： 汉魏六朝势意骨神质妍古今逻辑发展　出处：《山东大学》2006年硕士论文　论文类型：学位论文

【摘要】：汉魏六朝是书法理论审美意识觉醒的时代。 “书法艺术，在东汉后期就已产生了相当系统的理论。它在音乐和语言艺术的理论之外，从一个重要的方面丰富和展开了中国美学。”(李泽厚)汉代的书法理论建基于汉代书法审美趋于自觉地基础上，此时，不仅产生了丰富多样的书体，而且强化了书家对运笔结体的“势”的关注。同时，对主体创作自由的高度尊崇，使得书家尤其强调书法主观情志的表达，从蔡邕书论中对“意”和“神采”的重视即说明了这一点。汉代书学家对“势”和“神采”的重视，深深影响着魏晋的书学理论，魏晋时期，书法理论中对“势”和“神采”的探讨进一步深入，而且受当时人物品藻和“言意之辨”之风的影响，书论中对“骨”和“意”的重视更是提高到前所未有的程度。这些书法美学思想在王羲之和卫夫人那里得到更加详尽的阐发。南北朝时代的书法理论更趋自觉，，书学空前繁盛。在整个魏晋南北朝书法理论中，“意”是个头等重要的范畴。南朝羊欣、王僧虔、袁昂、萧衍等书论家提出并建立了一套以“意”为核心，将人物品藻和艺术鉴赏合二为一的书法批评模式，对“骨”的认识更加成熟，“神采”论经王僧虔的阐释也更趋完善。对书法现象和书法美学思想认识的加深，书家对“钟张羲献”的不同评价，在书学理论中产生了“质妍古今”之争。从虞和到王僧虔，后经梁武帝萧衍的阐发不断得到发展，并对后世的质妍古今之论产生的重要的影响。本文从“势”、“意”、“骨”“神采”等几个方面分析汉魏六朝书法美学思想的发展。分为四章，首先在第一章分析了儒家、道家、佛教和玄学对汉魏六朝书法美学思想逻辑发展所产生的影响，然后分三章阐述了汉魏六朝书法美学思想的逻辑发展，即尚“势”观和“意”的雏形——汉代的书法美学思想、“势”“意”观的发展和对“风骨”的推崇——魏晋的书法美学思想、“意”“骨”“神采”论的成熟和质妍古今之争——南北朝的书法美学思想。
[Abstract]:The Han, Wei and six dynasties were the times when the aesthetic consciousness of calligraphy theory was awakened. "calligraphy art, in the late Eastern Han Dynasty, has produced a fairly systematic theory. It is in addition to the theories of music and language art. It enriches and develops Chinese aesthetics from an important aspect. "(Li Zehou) the calligraphy theory of the Han Dynasty was founded on the self-conscious basis of the calligraphy aesthetics of the Han Dynasty. At this time, it not only produced a variety of calligraphy styles. At the same time, the freedom of subject creation is highly respected, which makes the calligrapher pay special attention to the expression of calligraphy subjective feelings. From Cai Yong's book theory, the emphasis on "Yi" and "charm" illustrates this point. The scholars' attention to "potential" and "charisma" in the Han Dynasty deeply influenced the theory of calligraphy in Wei and Jin dynasties. In the period of Wei and Jin dynasties, the discussion of "potential" and "charm" in calligraphy theory was further deepened. And affected by the characters at that time and the "speech and meaning of the debate" of the influence of the wind. The emphasis on "bone" and "meaning" in the book theory has been increased to an unprecedented level, and these calligraphy aesthetic thoughts have been elaborated in greater detail by Wang Xizhi and Mrs. Wei. In the whole Wei Jin Southern and Northern dynasties calligraphy theory "Yi" is the most important category. In the Southern and Northern dynasties, Yang Xin, Wang Sanqian, Yuan Ang. Xiao Yan and other book theorists put forward and set up a set of calligraphy criticism mode, which takes "meaning" as the core and combines characters' taste with art appreciation, so that the understanding of "bone" is more mature. Wang Sanqian's interpretation of the Scripture is also more perfect. With the deepening of the understanding of calligraphy phenomenon and calligraphy aesthetics, the calligraphers have different comments on Zhong Zhang Xizhi Xian. From Yu he to Wang Sanqian, the explanation of Xiao Yan of Liang Wu Di has been developed continuously, and has had an important influence on the theory of quality Yan from ancient to modern. This paper analyzes the development of calligraphy aesthetics in Han, Wei and six dynasties from the aspects of "potential", "meaning", "bone" and "spirit". It is divided into four chapters. Firstly, it analyzes Confucianism and Taoism in the first chapter. The influence of Buddhism and metaphysics on the development of calligraphy aesthetic logic in Han Wei and six dynasties, and then the logical development of calligraphy aesthetics in Han Wei and six dynasties is described in three chapters. That is, the embryonic form of "Shi" and "Yi" in Han Dynasty, the development of "potential" and "meaning" and the appreciation of "Feng Gu" -Wei Jin's calligraphy aesthetic thought. The mature theory of "Yi" "Gu" and "spirit" and the dispute between ancient and modern quality Yan-the aesthetic thought of calligraphy in the Southern and Northern dynasties.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J292.2

【相似文献】