《证券投资分析》讲义.doc

1、当代书法艺术发展中的几个问题（Several problems in the development of contemporary calligraphy）Several problems in the development of contemporary calligraphyEditors note: today, we publish some articles on the development of contemporary calligraphy art by Shao Bingren, vice chairman and calligrapher of Chinese Ca

2、lligraphers association. The article is insightful, though it is written in calligraphy, but it is enlightening to all fields of culture and art. The article points out: calligraphy is not only the technology, art, is Tao, the painting, the construction is Chinese spiritual home. Therefore, the deve

3、lopment of contemporary calligraphy must deal with the three relations between the mainstream of the times and the diversity of art, social function and personal pursuit, moral cultivation and artistic practice. Serving the people and serving the socialist society should be the only way for the deve

4、lopment of calligraphy. In the pursuit of personal art development, calligraphers should pay more attention to the social function of art, and make calligraphy play an important role in building a harmonious society. The essence of the art of calligraphy as Chinese tradition, has a long history, pro

5、found meaning, on behalf of many people. In the contemporary culture, for the development of the material base, the social environment, propagation conditions have undergone profound changes, and provide a broader space for the development of the art of calligraphy, but also facing new problems and

6、new situations. The main problems in the process of the development of the art of Calligraphy: calligraphy due to the weakening of utility function, basic calligraphy gradually shrinking; by the impact of western culture, traditional art spirit is indifferent, inheritance is insufficient; for drivin

7、g utilitarian thought, basic writing and testimonies from Chinese characters, impetuous creation of popular culture. Now, how to adhere to the fine tradition and create the art of calligraphy with the spirit of the times become the theme of calligraphy development. From the prosperity of traditional

8、 art, carry forward the spirit of the times and the protection of national culture, enhance the competitiveness of Chinese culture, to ensure national cultural security level, need to seriously consider all kinds of problems summed up the contemporary art of calligraphy in the process of development

9、, promote the healthy and stable development of calligraphy Chinese.In the development of contemporary calligraphy, we must deal with the following relationships:First, the mainstream of the times and artistic diversityChina calligraphy art in the history of the development process, genres, flowers

10、blooming like a piece of brocade. But in any historical period, there are distinctive mainstream books of the times. A careful study of the calligraphic style in different periods of Chinese calligraphy history and the social and historical roots of its formation can serve as a reference to the deve

11、lopment of Chinese calligraphy. History has proved that the main works of different periods, common characteristic is on the basis of inheritance and innovation, follow the law of development of art, with profound artistic skill, distinctive spirit of the times; in the artistic style, they generally

12、 have Chia meteorology, natural and simple, just healthy and fresh; in the form of performance, tastes, popular to understand, can accept the approved by the public. Only this kind of work is the real outstanding work, can represent the style of an era.The development of contemporary art of calligra

13、phy, both calligraphy works of art to keep pace with the times, meet the aesthetic view of the masses of the people, the rich quality of artistic creation, emotion display and promote mainstream aesthetic ideals and values, also called the art of calligraphy calligraphy career can be diversified, co

14、ordinated development.The mainstream of the times and diversity complement each other, and become a unified and harmonious whole. Two fresh and vigorous, Yan Zhenqing Tanghuangzhengda is the representative of the traditional, the Eight Wonders of Yangzhou, Xu Wei Zhang Ruitu, is on the basis of trad

15、itional exploration. But their influence and position in art history are different. The latter also has a high artistic achievement, but the influence of the former is more universal than that of the former. Each time the mainstream works also have, such as the Warring States of the bird pest seal,

16、the Tang Dynasty official script, rich and magnificent Song Huizong thin gold book, the Ming and Qing Dynasties Taiwan Pavilion and guangeti. These works are the product of a particular era and cultural environment, and have their historical origins and air and soil, but they are not the mainstream

17、of the style of the times, but can only be a useful supplement,Some because of the lack of artistic appeal, some do not conform to the basic law of the art development, some mere art, some being rigid, although very popular, eventually eliminated by history. Learn and inherit calligraphy, tracing th

18、e circulation, can grasp the rules and correct Book wind; inherited partial branches, the positive pulse, nothing to fall back on, difficult chengdaqi.All flowers bloom together. times reflects the mainstream, contention of a hundred schools of thought, books and art diversity unified wind: adhering

19、 to the mainstream at the same time, the free development of art and encourage different style, different views of free discussion, mutual respect, complementarity, unity and harmony and common progress. Contemporary, especially after the reform and opening up, calligraphy flourished rapidly, with t

20、he diversity of cultural needs, the diversity of art presentation style. One part is in conscientiously follow the traditional way, one part is on the basis of the traditional concept, combined with the latest development of the arts, to the ancient open new; part of it is to get out of the traditio

21、nal mode of development, another way. There are gains and losses in these artistic explorations.That tradition, is right, but if blindly follow, from the essence to form no new achievements, the inheritance will be greatly reduced. In the broad and profound traditional calligraphy, it is difficult t

22、o truly deepen, and it is more difficult to be creative on the basis of tradition. Those in succession on the road hard, stupid people put a lot of effort, have little effect, but they can endure loneliness, awe inspiring.We should pay equal attention to inheritance and innovation, and explore on th

23、e basis of the two schools of stele and tie. Especially from the archaeological discovery of new materials calligraphy provided, such as tile brick Qin, Wei and Jin Dynasties, silk bamboo slips of paper and residual epitaph statues of Dunhuang manuscripts, into the contemporary innovative practices

24、and ideas, is mainly based on the physical innovation of pang. In fact, this is a continuation of the calligraphy and calligraphy in the Qing Dynasty, but more extensive in content and form. This group has emerged many keen calligraphers, the problem is, as part of traditional calligraphy and callig

25、raphers of inheritance is not enough, lack the necessary cultural support, and less morals; intrinsic, form. Inheritance in todays cultural environment is not easy, innovation also depends on whether there is a breakthrough in nature, only in the form of appearance and the distance between the ancie

26、nts is far from enough.To break the old pattern of traditional calligraphy, western art, although the spirit of exploration can not easily deny, but if in the works from Chinese characters, break the layout of space Chinese calligraphy, abandon the traditional inherent testimonies, is deviated from

27、the essence of calligraphy, misleading the public viewing, its impact on the traditional calligraphy can not be underestimate.The development of contemporary calligraphy can not be separated from the correct literary criticism. In principle, from the direction of the development of calligraphy, as l

28、ong as it is based on the Chinese characters, based on the noumenon of calligraphy, regardless of what is the direction of exploration, that is, should be encouraged, for sure, there is no problem of right and wrong. It is very important to treat objectively and understand the gains and losses of di

29、fferent exploration directions. As a result, it will lead to blindly follow the trend, sacrificing a large number of young people who originally have artistic talent. The lack of inclusive style of study, will cause the calligraphy internal attack, repeatedly made criticism.The current art criticism

30、 is a flatter, irresponsible hype; one is the lack of tolerance, lashing Crusade, abuse. There are not too many academic discussions that are full of goodwill and equality. Compared with the literary criticism already carried out in literary circles, Calligraphers contention of a hundred schools of

31、thought has not been fully developed. Art criticism is lagging behind, a direct impact on the healthy development of the art of calligraphy, tout irresponsible destroyed the art atmosphere, pollution of art lovers eyes; self-centered attack is a serious damage to the Crusade, harmonious calligraphy.

32、 As for some calligraphers does not work hard in business, designed by hype earned fame, gossip and film and television industry manufacturing because of the increase in popularity, there is no fundamental difference on rate increase.Review the reality and sum up the gains and losses,There is still

33、a long way to go for the development of the mainstream style of calligraphy and the diversity of artistic styles.Two, social function and individual pursuitAs a category of art, calligraphy belongs to the superstructure and has social functions. In reflecting, paying attention to practical problems

34、and expressing the spirit of the times, calligraphy is not as good as literature, drama, film and television, and even more directly than art. China literature, advocated statecraft, beauty and ambition, China literature start; strong focus on peoples moral self-cultivation, with respect, advocate C

35、hongshan righteousness, sincerity, moderation, contribution, One principle runs through it all. Although calligraphy does not have a direct link with the practical function, but in the history of calligraphy works, and moral ideal, China ancient philosophical implication of calligraphy, with its imp

36、licit and profound artistic form, carrying the scholars with respect to political ideals and aesthetic feelings of humanism, imperceptibly affect public ideal moral and sentiment. Literature and art serve the people and serve the socialism determines the nature and direction of literature and art in

37、 China. It is the basic principle that must be adhered to in the development and prosperity of Chinese literature and art, and also the only way for the development of calligraphy. Calligraphy is the calligraphy art main body follow two directions, in the pursuit of personal artistic development, sh

38、ould pay more attention to the social function of art, calligraphy in the process of building a harmonious society, play an important role in the foundation.They have under the condition of market economy, ignoring the calligraphy as the social function of art, lost self, keen to form first, ideal n

39、ew in order to be different, do not decline, efforts from the work of the ideological content and artistic expression, but by retrofit, making visual stimulation, the artistic creation from the aesthetic needs of the public, solid paltrily.In todays cultural life, there is a very contradictory pheno

40、menon, on the one hand is the unprecedented prosperity of calligraphy, on the one hand is a lack of masters and classics. The history of art, classical masters and not invented, not self, not a small circle holding out, the key to see whether the artist consciously artistic creation and their own po

41、pular aesthetic needs of integration, all masters, must be recognized by the public, all the classic must verify the unconditional acceptance of social practice. Those works with lasting artistic charm reflect the aesthetic taste of the general public, and all of them come from their life and creati

42、on.In order to truly embody the value of self, calligraphers should integrate their pursuit of art into the function of serving the people in society. Therefore, we should continue to strengthen their own artistic accomplishment, improve artistic expression ability, in order to keep up with the requ

43、irements of the times. Some calligraphers, leave no stone unturned, behind closed doors, since that is the creation of the play, but works out, and can not produce the desired effect, people cannot read, it must cause cold and refuse. Some people always complain that the eyes of the masses is too lo

44、w, in fact, with the development of society and the improvement of material and cultural life, the aesthetic standard of mass increasing, the higher the quality requirements of art is amazing level of mass and improve art appreciation. 20 years ago, Liu Yan to write like, will be able to participate

45、 in the exhibition, a style works, only from the formal written strong forceful, can win the applause, not today. Popular literature and art is the most authoritative judgment and appreciation, if limited exchanges in the calligraphy art circles can resonate with the public, not from classic, the ac

46、cumulation of material, rich artistic heritage, refused to learn from the masses, feel the breath of life and the aesthetic taste of them, but hiding in the Ivory tower in the self satisfied, it is not possible to personal artistic creation and the development of the times, to create a rich spirit o

47、f calligraphy works.In the process of economic globalization, the Chinese traditional culture is facing tremendous impact and weakening. The competition of culture is the same as that of economic competition, and the contest of strength is emphasized. The competition of global culture can not be exp

48、ected to be protected, but depends on the promotion of its own competitiveness. For thousands of years, the Chinese nation has a high degree of unity, the Chinese version of the figure is complete, rely on the unique traditional Chinese culture, which is an important factor in the unity of the text.

49、Therefore, in the face of Western cultural infiltration, cannot improperly belittle oneself, not repeating past mistakes. In the past, we had some deviations in the treatment of traditional culture, such as criticism more than inheritance, negative more than affirmation, leading to some peoples igno

50、rance of national culture, lack of self-esteem and self-confidence. Calligraphy is China popular art, built on the basis of the art of writing Chinese characters should be extensive maximum, but today China, how many children are learning China traditional culture including calligraphy?In the long h

51、istory, the ancient Chinese civilization and morality into Chinese characters in calligraphy writing, the language, the grand universe Avenue, small personal philosophy, as the vivid images of writing, calligraphy and Chinese literati inner spirit of life into a body of flesh and blood. Calligraphy

52、is not only technique, art, is Tao, the painting, the construction is Chinese spiritual home. We always feel the empty heart of the Chinese people, and feel the eye of western culture, but we seldom reflect on our attitude towards the traditional national culture. The artist should not only satisfy

53、the pleasure of personal spirit and the enrichment of economic interests, but also think of serving the society for the masses, and filling the spiritual life of the Chinese people with the most affinity calligraphy art.The rejuvenation of the Chinese nation is not only the rise of economy, but also

54、 the support of culture. In the face of Westernization, cultural security has become an important part of national security. Calligraphy is a part of Chinese traditional culture. Calligraphers have the responsibility to make traditional art a part of Chinese peoples spiritual life, and make their ow

55、n efforts for the independence of national culture and the cultural security of the country.Three, moral cultivation and artistic practiceArtistic worker is a special worker who creates spiritual products. His own moral accomplishment, ideological consciousness, spiritual realm, knowledge accumulati

56、on and artistic skill directly determine the quality and artistic conception of the work.The body of the Denaili. Chinese traditional intellectuals (including artists) generally care about politics, pay attention to culture, full of historical experience, moral consciousness and self cultivation. Co

57、nfucian theory of self-cultivation is a moral centered all-round accomplishment of a person, including cultural knowledge, literature and art. Repair from Judah, raising and conservation influence, the ancient literati introspection, self-cultivation as the basic way to sharpen and cultivate humanit

58、y. Confucius also combines moral cultivation with politics, emphasizes self cultivation and respect, and believes that only by cultivating noble character can people stabilize. The University and the doctrine of the mean is the heart, sincerity, self-cultivation referred to the governing the country

59、, leveling the world height, emphasizing self-cultivation is the foundation. Ancient calligraphers by this thinking, put forward the heart regular pen, the book as claims. In the traditional calligraphy art criticism, moral cultivation is placed in the most important position, Cai Jing, Zhao Meng, Zhang Ruitu and Wang Duo?, or because of treachery, or because of loss of integrity, his contempt, to refuse, only t