上海视觉

上海视觉 ›› 2021, Vol. 0 ›› Issue (1): 66-72.

• 艺术批评 • 上一篇    下一篇

书法审美的一元立场与多维视角

潘端伟   

  1. 上海视觉艺术学院,上海201620
  • 出版日期:2021-01-20 发布日期:2021-01-20
  • 作者简介:潘端伟（1977– ）,男,毕业于上海师范大学,博士学位。上海视觉艺术学院讲师,中文教研室负责人。研究方向:教育理论、美学、美育。

Single Standard and Multidimensional Perspectives in Calligraphy Aesthetics

PAN Duanwei   

  • Online:2021-01-20 Published:2021-01-20

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摘要：

当前书法活动群体呈现一种多元的复杂局面,但书法审美取向却出现一种单一化倾向——审美对象的单一,审美理论的单一,未能较为全面地涵盖书坛的各个层面。在现代化的冲击下,对书“道”的远离和迷失是重要原因。因此,书法审美必须回归书“道”,紧紧把握书法的人本主义精神,以对人的生命精神的彰显为终极目标,并根据书“道”的敞开性特征,从法度、艺术、人文三个维度展开。

关键词: 书“道”, 书法审美, 一元, 多维, 多样性

Abstract:

There has been a diverse and complex situation among the current calligraphy practitioners, but a tendency towards a single standard in the aesthetic evaluation of calligraphy—a single aesthetic object and a single aesthetic theory— which fails to cover all aspects of the calligraphy domain in a comprehensive manner. The main reason for this is the deviation from and the loss of "Tao" of calligraphy under the impact of modernization. Therefore, the aesthetics of calligraphy must return to the "Tao" of calligraphy, with focus on the essence of the humanistic spirit, and the manifestation of the spirit of human life as its ultimate goal, and develop itself in the dimensions of law, art, and humanity, based upon the openness of the "Tao" of calligraphy.

Key words: "Tao" of calligraphy, calligraphy aesthetics, unitary, multidimensional, diversity

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