米芾书学理论自然观辨析

发布时间：2018-03-09 23:25

本文选题：米芾　切入点：书学　出处：《文艺研究》2017年08期 　论文类型：期刊论文

【摘要】：米芾书学理论的核心是他在变化与创新基础上提出并推崇的自然观,其基本内涵可概括为落笔随意自然、结字布局自然、气韵生动自然。在书法批评实践中,其实现方式有崇晋卑唐、重墨迹轻碑刻、大小字写法互相借鉴、用语"入人"等。米芾的自然观是对立面的辩证统一,所谓自然,是在各种要素的多样性强烈对比中,及各种笔法、结字、章法的创新与变化之中的自然。其临池实践与理论追求方向基本一致,亦可视作其理论的具体实现形式。米芾的自然观也不可避免地存在着局限性,主要表现在缺乏一种对"异量之美"的包容。就其书法实践论,则是劲利有余,而在含蓄、淡雅及内涵方面欠缺一些,或可以说是已得"自然",稍欠"和谐"。
[Abstract]:The core of Mi Fu's calligraphy theory is his view of nature, which is put forward and respected on the basis of change and innovation. It is realized in the following ways: worshiping Jin Pei Tang Dynasty, attaching importance to ink and light inscriptions, drawing lessons from each other in the writing of large and small characters, and using the term "entering people". Mi Fu's view of nature is a dialectical unity of opposites, and the so-called nature is a strong contrast between the diversity of various elements. And the innovation and changing nature of all kinds of brushwork, conclusion and composition. The practice of temporary pool is basically consistent with the direction of theoretical pursuit, and it can also be regarded as the concrete form of realization of his theory. Mi Fu's view of nature inevitably also has limitations. It is mainly manifested in the lack of tolerance to "beauty of different quantities". On the theory of calligraphy practice, it is more powerful than profit, but lacking in implication, elegance and connotation, or it can be said that it has already got "nature" and is slightly less than "harmony".
【作者单位】：贵州大学中国文化书院;贵州大学—孔学堂中华传统文化研究院;
【基金】：国家社科基金后期资助项目“米芾文学及书画理论研究”(批准号:16FZW019) 贵州省教育厅高校社科研究基地项目“书法与国学关系研究”(批准号:701142164401)成果
【分类号】：J292.1

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