论书法中的“屋漏痕”
[Abstract]:House leakage mark is an important concept in Chinese calligraphy aesthetics. It is the natural image of the artist of calligraphy, abstracted by the elephant, finds the fit with calligraphy, and provides a strong support for the techniques and aesthetics of calligraphy. It carries and conveys many aesthetic standards, which provides more possibilities for the development and innovation of calligraphy. It is true that "house leak mark" is a visual aesthetic word, which is quite obscure in calligraphy, so that the interpretation of "house leak mark" held its own views and influenced the book world. In fact, the "house leak" itself is also a kind of ideological and cultural inheritance, which contains a lot of ideological and cultural information, are the essence of national traditional culture. Therefore, it is necessary to analyze the "house leakage mark" in order to better serve the theory and practice of calligraphy art. In the process of calligraphy development, engraving, modeling, casting, writing, stone engraving and so on have penetrated into the thought of "house leakage mark". "House leak mark" is a collection of Confucianism, Taoism and Buddhism, showing the lofty beauty of neutralization. It is particularly obvious in the lines of calligraphy, the main aesthetic concept is round and astringent, in order to form and quality. House leakage marks have provided great guidance for the creation of calligraphy scholars in the past dynasties, and many famous calligraphy scholars have emerged. From the House leak, we can sense the thinking ability and research method of the ancients from the art, which is a kind of inspiration to us. In the process of calligraphy creation and theoretical research, we should trace back to the origin, absorb the essence of national traditional culture more deeply, and find the coincidence point with calligraphy creation in the great development of contemporary prosperous and trendy culture, so as to enrich and inherit the classics of Chinese traditional culture constantly.
【学位授予单位】:陕西师范大学
【学位级别】:硕士
【学位授予年份】:2014
【分类号】:J292.1
【共引文献】
相关期刊论文 前10条
1 苏显双;;不朽的白蕉——白蕉书法艺术述评[J];书画世界;2010年04期
2 王艳军;;传说时代造字诸说思辨及其美术字体[J];书画世界;2010年04期
3 彭坚;;“书印相参”的“邓派”篆刻艺术[J];安徽文学(下半月);2008年12期
4 Ok蒙;陈丹;;元代书法对绘画的影响[J];安徽文学(下半月);2008年12期
5 邓建民;;王铎草书影响研究[J];安阳师范学院学报;2008年04期
6 莫克;;初探科技类图书装帧设计的笔墨意韵[J];编辑之友;2012年04期
7 何峰;李旭;;传统书法的形式语言对当代中国平面设计的启示[J];包装工程;2010年20期
8 朱延松;;浅议汉字教育在朝鲜半岛的发展状况[J];才智;2009年32期
9 李象松;;“器”的习得与“道”的修炼——兼及对书法本体身份的体认[J];成都大学学报(教育科学版);2009年02期
10 张雷;;论印刷体对书法艺术的冲击及对策[J];巢湖学院学报;2008年04期
相关会议论文 前1条
1 蔡栋;;楚调自歌 风神超迈[A];中国民间文化艺术之乡建设与发展初探[C];2010年
相关博士学位论文 前10条
1 过晓;论作为中国传统绘画美学概念的“似”[D];南京艺术学院;2011年
2 闵胜俊;战国中山国青铜器铭文美学研究[D];山东大学;2011年
3 张多强;《三希堂法帖》研究[D];吉林大学;2011年
4 张克锋;魏晋南北朝文论与书画论的会通[D];西北师范大学;2007年
5 贺文荣;中国古代书法教育的结构与形态研究[D];浙江大学;2007年
6 韩建立;《艺文类聚》编纂研究[D];吉林大学;2008年
7 黄一鸣;王铎书法的形式与空间研究[D];中国美术学院;2008年
8 顾涛;墓志书法研究[D];中国美术学院;2008年
9 曹连观;文艺伦理研究[D];南京师范大学;2008年
10 蔡清德;十五至十六世纪金陵书法的区域性考察[D];南京艺术学院;2008年
,本文编号:2498924
本文链接:https://www.wllwen.com/wenyilunwen/shufayishu/2498924.html

