书法文化(中英文)

1、书法书法文化文化翻译翻译吴卉2010. 11. 21History of CalligraphyPre-Qin Calligraphy: Obscure, Mysterious and UniquevShang dynasty voracle-bone inscriptions (Anyang, Henan. Hidden Turtle in the Iron Cloud) Pictograph Pre-Qin Calligraphy: Obscure, Mysterious and Uniquev Bronze inscriptions phonogramsPre-Qin Calligrap

2、hy: Obscure, Mysterious and UniquevSpring and Autumn period: Stone drum inscriptionvKang Youwei: “the origin of calligraphic rules” 书法第一法则vSet up the criterion for large script which is the precursor of small seal scriptCalligraphy of the Qin and Han Dynasties: Standard and ElegantvLi Si: abolished

3、different forms and made small seal script official script for the whole nation.vRound stroke; same thickness; tenacityCalligraphy of the Qin and Han Dynasties: Standard and ElegantvCalligraphy on bamboo or wood slips and silk: also known as ancient clerical script, which is a transitional form betw

4、een ancient script and modern script. Calligraphy of the Qin and Han Dynasties: Standard and ElegantvQin Dynasty: Cheng Miao “clerical script”vHan DynastyvTransformation of clerical scriptCalligraphy of the Qin and Han Dynasties: Standard and ElegantvCai Yong: “flying white” styleCalligraphy in the

5、Wei, Jin and Southern &Northern DynastiesvWei kingdom period: Zhong Yao, originator of regular script 楷书之祖vEastern Jin, Newness and grace （新妍）replaced simplicity and clumsiness. Wang Xizhi: regular script and running script (Preface to the Literary Gathering at the Orchid Pavilion) Wang Xianzhi: cur

6、sive scriptCalligraphy in the Wei, Jin and Southern &Northern DynastiesvStele inscription of the Northern Dynasties and rubbing calligraphy of the Southern Dynasties (北碑南帖) Wei stele inscriptionCalligraphy of the Sui and Tang Dynasties: fresh , profound and magnificentvSui Dynasty: transitional peri

7、odvZhi Yong: regular and cursive script Thousand-character EssayCalligraphy of the Sui and Tang Dynasties: fresh , profound and magnificentv“Four masters of the Early Tang Dynasty” 欧阳询，虞世南，褚遂良，薛稷Calligraphy of the Sui and Tang Dynastiesv“Three Outstanding Calligraphist for Cursive Script” 唐草三杰 贺知章 张

8、旭（Crazy Zhang） 怀素（light ink） Calligraphy of the Sui and Tang DynastiesvMid-Tang: Emperor Li Longji 唐玄宗 preferred full and round writing style 颜真卿 柳公权 “the muscles of Yans calligraphy and bones of lius”Calligraphy of the Song and Yuan Dynasties: slow but steady progressvFeudal society not booming; Co

9、nfucianism, Taoism and BuddihismvCalligraphic style: in pursuit of expressiveness (project ones real interest and intention in the art of calligraphy, shake off the fetters left by the Tang dynasty)Calligraphy of the Song and Yuan DynastiesvFour Great Song Calligraphers 宋四家 苏轼 黄庭坚 米芾（Crazy Mi, stron

10、g cleanliness, fond of dress from the Tang, stone as brother） 蔡襄Calligraphy of the Song and Yuan DynastiesvSouthern Song continued the style of the Northern Song calligraphyvFour Great Southern Song Calligraphers 南宋四家：陆游，范成大，朱熹（denies the expressiveness-pursuing calligraphers），张孝祥Calligraphy of the

11、Song and Yuan DynastiesvYuan dynasty: Kublai Kahn advocated for classic calligraphy, “returning to the ancients” 复古思想vZhao Mengfu, one of “Four Grand Masters of Regular Script” Different opinionsCalligraphy of the Ming and Qing DynastiesvMing: “Taige Style” vQing: Wenziyu (imprisonment due to writin

12、g)vCalligraphy weaker and humbler vPrevailing of epigraphy, priority to stele inscriptionsCalligraphy of the Ming and Qing DynastiesvMing dynasty: Wumen School 吴门书派 Seemingly an effort to bring back the tradition of valuing the regular style and writing regular style but in essence, it is a correcti

13、on of defects seen in the works in the early Ming dynasty. 祝允明，文征明 Huating Calligraphers 华庭书派 董其昌Calligraphy of the Ming and Qing DynastiesvLate Ming: emancipation of individuality 徐渭: cursive style“Four Masters of Late Ming Dynasty” 晚明四大家： 张瑞图，董其昌，邢侗，米万钟 Early Qing: continued the trend toward innov

14、ation 傅山， 张板桥Calligraphy of the Ming and Qing DynastiesvGolden Era for Calligraphy in the Qing Dynasty 书道中兴v 包世臣 “the number on of the Qing dynasty” 天朝第一 seemingly clumsy strokesv stele inscriptions中国书法与文化书法与周易哲学v“易：以道阴阳。” 乾卦：纯阳 坤卦：纯阴 v一阴一阳之谓道v阴阳相济才能臻于天地宇宙的大和谐，所以，要保持食物的多样性，让各种差异能够在整体的和谐中并行不悖，达到“和而不同

15、”。 书法与周易哲学v用笔的“阴阳相应”，以笔之动为阳，以墨之静为阴；以笔取气为阳，以墨生彩为阴。（比如大和小，方和圆，疏和密。） v褚遂良 阴符经柔中带刚，既有韧劲和骨力 书法与周易哲学v周易的卦爻符号及其有限，可谓意象“至简”，但是所谓易道广大，表意甚丰。v周易中的言象互动系统，对于中国美学和艺术的最大意义，就在于易简的思想，用晦的思想。它认为，言不尽意，必须立象以尽意。“象”，直接启迪着中国艺术家去扩大意象符号的意义空间，而这正是中国艺术意象理论的核心。书法与周易哲学v书法是抽象，概括的。v以简易蕴含丰美 它形式最为简单，最单纯，最抽象，只不过是一些单纯的点画往来，线条连绵，色彩也不过是

16、最简单，最素朴的黑白二色，但是，在其中却蕴含着最概括，最丰富的生命意趣。书法与气化哲学v中国气化哲学认为，气是生命的本原，是“体之充也”。v书法里要具有气，唯有这样，书法才是活生生的，才充满了生命的精神和情趣。书法与气化哲学v布白：虚空即气v中国人对于虚空，空白持有与西方不同的态度。v西方：接受现实的物质世界。西方艺术：充满着对于可见世界美妙景象的感受。对于自己不能利用或对付的东西退避三舍。对“虚”， “空”这些概念和观念保持距离。v道家：用“虚”， “空”等概念按时和象征“道”，重视这种使万物成为一体并为其提供能量的道，渴望天人合一。v西方：以繁盛为美v道家：以空灵为美 “无”就是气，气就是

17、生命米芾，春山瑞松图 虚灵飘荡之气书法与儒家哲学v毛笔的特性：柔软书法家在书写中能创造出无穷的变化。但又有刚健的力量，即其弹性。v该特性契合了儒家文化。“儒”字从文字学的观点来看，是“柔”也，是人之所需。（从需字旁的字，都有“柔软”之意。孺子，若米，懦弱，蠕动。）孔子：仁爱v孟子补充“义”的力量，学术性，人性应该遵循的道理。v“发乎情，止乎礼”（笔尖的触动即情，笔法的规范制约即礼。）颜真卿，颜氏家庙碑v浑穆博大，雍容开阔的楷书，是法度的典范，也是感情的充实。v儒家的励精图治，今宵金钟，恪尽职守的崇高的责任感。艺术以典正为要，及思想性第一，艺术性第二。内容，经世致用，官场文书书法与儒家哲学v心正

18、则笔正，人品即书品v儒家文化：伦理文化。v书法的美归结为书法家人格的美。v柳公权：“心正则笔正。”v正面例子：颜真卿，柳公权v反对者认为：秦桧，王铎，人品颓丧，但书艺高超。v道家：艺术史自我性灵抒发的手段，是在现实世界实现精神逍遥的途径。 书法与儒家哲学v逆与顺，儒道之别v道家：顺应世界，委运任化，是无已的哲学。“顺”（老子是外柔而内刚，以退为进，庄子则是渗入骨髓的柔，“无己”将顺发挥到了极致。）v儒家：推行自己，改造世界，是有己的哲学。“逆”v书法：逆笔和顺笔的结合，但一位的平顺，又会缺乏活力和朝气。包世臣：赵孟頫书法专用平顺，一点一画，一字一张，排次顶接而成。守拙书法与老子哲学v文明发展的

19、悖论v老子：文明的发展对人类本真状态的破坏，呼唤要回归到自然而然的本真状态。大巧若拙v孙过庭：由质到文，由拙向巧的发展史符合事物发展规律的。他是妍美思想的鼓吹者。行草书行笔果敢利落，放锋收锋都迅捷痛快。v张怀瓘批评孙过庭：用笔“伤于急速”，而主张文质相参，华质相半，巧拙兼济，古今谐和。守拙书法与老子哲学v金石味与枯拙美v傅山：极力批评明末董其昌和元代赵孟頫的书法，认为他们只有奇巧。“宁拙勿巧，宁丑勿媚”飘逸书法与庄子哲学v庄子：“无己”，即“丧我”v晋人的艺术，是一种超然绝俗的美。它朝野了道德的标准，而游心于一个原理人间社会的精神世界。区别于入学的根本点，与“法天贵真，不拘于俗。”v王羲之：不沾滞于物v王献之：妙在一个“逸”字飘逸书法与庄子哲学v庄学和玄学不仅表现在用笔的简，