晚明书法艺术思潮新论

发布时间：2018-01-28 17:37

本文关键词： 古典主义浪漫主义发生学当代性历史突破　出处：《山东师范大学》2008年硕士论文　论文类型：学位论文

【摘要】： 在中国书法的断代史研究中,晚明应该是一个十分特别和相当有吸引力的话题,对于这段历史的价值和意义学界目前尚未形成统一观点,因此,这是书法史论研究的一个空白点。晚明又是一个大变革的时代,对这一段历史的研究必须和当时的文艺思潮和美学思潮研究相联系,这就使得晚明书法史论问题研究具有了一定的美学价值,在研究的过程中可以通过史学研究而最终上升到理论层面的研究,因此,笔者选择了晚明书法艺术思潮作为研究对象。本文在对晚明和晚明书法作出界定之后,详细论述了关于晚明古典主义和浪漫主义书法艺术思潮的发展情况,重点阐述了晚明浪漫主义书法艺术思潮形成的原因、入清后的发展情况及其发生学和当代性意义,这就在一定意义上标立起了晚明浪漫主义书风的历史价值。本文所谓的新论主要是指文中提出了晚明两大书法艺术思潮的对立与融合问题,这在学界目前还尚未有人提及和系统阐述。关于对立,文中论述了古典主义和浪漫主义所采取的对立立场和方式是不同的,古典主义用沉默向浪漫主义示威,而浪漫主义则是直接向古典主义宣战,最后得出的结论是浪漫主义是对古典主义的历史突破和现实超越。文章论述的重点是两种书风的融合问题,这也是本文的学术价值之所在。关于融合,文章论述了两种截然不同的书法艺术思潮相互融合的原因是独抒性灵的文艺思潮和晚明审美范围的扩大和价值取向的个性化美学特征;对于两种书风对对方的融合,笔者认为主要是古典主义自觉意义上的浪漫化和浪漫主义书风的古典矜持和传统情结的存在,两种书风在相互的包容与渗透中最终在深层次走向了大融合。文章提到了研究晚明书法艺术思潮的两大焦点问题,使文章有了较高的学理立足点。对于古典主义和浪漫主义这两种书法艺术思潮在晚明的对立局面如何作出更深刻的剖析和界定,这是第一个焦点之所在;古典主义和浪漫主义两种书法艺术思潮在天然的对立之后如何完美地融合在一起,共同支撑晚明书法艺术亮丽的天空,这是第二个焦点所在。文章对这两个焦点问题进行了系统论述,成功解决了关于对立与融合成立的学理问题。文章最后对晚明书法进行了重新界定和系统阐释,并分析和论述了对晚明书法艺术思潮问题的研究对当代书法和当代艺术流派问题研究都有重要的影响和启发,希冀引发学界的广泛关注和深入思考。本文的创新点是: 1、全面梳理晚明书法艺术思潮的脉络,对古典主义和浪漫主义在书法史上的提出和发展情况进行系统阐述; 2、讨论晚明传统古典主义和新兴浪漫主义两种书法艺术思潮的对立与融合,重点是融合的问题,为晚明书法一统江湖寻找新的美学立足点; 3、以史为鉴,通过书法史论研究而引发对当代书法艺术发展的现实意义研究。
[Abstract]:In the study of the history of Chinese calligraphy, the late Ming Dynasty should be a very special and quite attractive topic, the value and significance of this section of the academic community has not yet formed a unified view. This is a blank spot in the study of the history of calligraphy. The late Ming Dynasty is also an era of great change. The study of this period of history must be related to the study of literary and artistic thoughts and aesthetic trends of thought at that time. This makes the study of the history of calligraphy in the late Ming Dynasty has a certain aesthetic value, in the course of the study can eventually rise to the theoretical level through the study of history, therefore. The author chooses the late Ming calligraphy art trend of thought as the research object. After defining the late Ming Dynasty and the late Ming Dynasty calligraphy, this paper discusses in detail the development of the classical and romantic calligraphy art trends in the late Ming Dynasty. This paper focuses on the reasons for the formation of Romantic calligraphy trend of thought in the late Ming Dynasty, the development after entering the Qing Dynasty and its genesis and contemporary significance. This marks the historical value of the Romantic style of calligraphy in the late Ming Dynasty in a certain sense. The so-called new theory in this paper mainly refers to the opposition and integration of the two major calligraphy trends of thought in the late Ming Dynasty. This has not yet been mentioned and systematically expounded in academic circles. As for opposition, this paper discusses that the opposing positions and methods adopted by classicism and romanticism are different, and classicism uses silence to demonstrate against romanticism. Romanticism is a direct declaration of war on classicism, and the final conclusion is that Romanticism is a historical breakthrough and realistic transcendence of classicism. The emphasis of this article is on the integration of the two styles of books. This is also the academic value of this article. This paper discusses the reasons for the fusion of the two distinct trends of thought in calligraphy art are the unique artistic trend of thought and the expansion of the aesthetic range and the individualized aesthetic characteristics of the value orientation in the late Ming Dynasty. As for the fusion of the two styles of books, the author thinks that it is mainly romantic in the sense of classicism conscious and the existence of classical reserve and traditional complex of Romantic style of books. The two styles of calligraphy in the mutual tolerance and infiltration of the final deep integration. The article mentioned the late Ming Dynasty calligraphy art trend of thought of two major focus issues. So that the article has a higher theoretical foothold. For the classical and Romantic two kinds of calligraphy art trend of thought in the late Ming Dynasty how to make a more profound analysis and definition of the opposite situation, this is the first focus; Classical and Romantic two calligraphy art trends in the natural opposition after the perfect integration together to jointly support the late Ming Dynasty calligraphy art bright sky. This is the second focal point. The article has carried on the systematic discussion to these two focal points, has solved the academic principle question about the opposition and the fusion establishment successfully. Finally, the article has carried on the redefinition and the systematic explanation to the late Ming Dynasty calligraphy. It also analyzes and discusses that the research on the trend of thought of calligraphy in the late Ming Dynasty has an important influence and inspiration on the study of contemporary calligraphy and contemporary art schools in the hope of arousing extensive attention and deep thinking from the academic circles. The innovations of this paper are: 1. Combing the thread of thought of calligraphy art in late Ming Dynasty, systematically expounding the development of classicism and romanticism in the history of calligraphy; (2) to discuss the antagonism and fusion of the traditional classicism and the new romanticism in the late Ming Dynasty, with emphasis on the integration of calligraphy, and to find a new aesthetic foothold for the unification of calligraphy in the late Ming Dynasty; Third, the study of the realistic significance of the development of contemporary calligraphy art through the study of the history of calligraphy.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J292.1

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