论大草书法的“积极浪漫”与“消极浪漫”——以明代解缙、徐渭大草为例

发布时间：2018-05-19 05:21

本文选题：解缙 + 熊秉明　；参考：《文艺争鸣》2016年07期

【摘要】：正一、"积极浪漫"与"消极浪漫"书法发展到唐代,形成了前所未有的兴盛。特别是以张旭、怀素等大草书家的出现,将中国书法的艺术水平,提升到了一个新的高度。小草书由字字独立的章草发展而来,虽然点画连绵笔势呼应抒情性增加,但字体法度仍然非常严谨。以颠旭、狂素为代表的狂放笔墨,在激昂情绪的驱使下,点画龙飞凤舞变化莫测,则淡化了草书的法度。其因"连环钩索,神化无穷,谓之‘大草’",~((1))亦称为"狂草"。熊秉明《中国书法理论体系》云:"张旭被称为‘张
[Abstract]:First, "positive romance" and "negative romance" calligraphy developed into the Tang Dynasty, forming an unprecedented prosperity. Especially with the appearance of Zhang Xu, Huaisu and other great cursive calligraphers, the art level of Chinese calligraphy has been raised to a new height. Small cursive from the character of the development of the independent herbaceous, although the continuous strokes echo lyricism increase, but the font is still very strict. Yu Xu, Mengsu as a representative of the wild ink, driven by emotion, painting dragon flying Phoenix dance unpredictable, the dilution of cursive law. Because of the "chain hook rope, deified infinitely, called the'big grass'", also known as "wild grass." Xiong Bingming "Chinese calligraphy Theory system" Yun: "Zhang Xu is called 'Zhang'."
【作者单位】：吉林大学古籍研究所;
【分类号】：J292.1

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