書(shū)法藝術(shù)的歷史與審美

　　The History and Aesthetics of Calligraphy Art

　　一、樹(shù)立正確的臨摹觀，要注意以下幾方面問(wèn)題

　　1、 To establish a correct perspective on copying, attention should be paid to the following issues

　　1．臨摹是手段不是目的。臨摹古法書(shū)，目的是掌握書(shū)法基本規(guī)范，而不是復(fù)制、重復(fù)古人。因此，臨摹必然要有一個(gè)進(jìn)入與退出的過(guò)程，不能一味臨古，食古不化。

　　1. Copying is a means, not an end. The purpose of copying ancient Chinese calligraphy is to master the basic norms of calligraphy, rather than copying or repeating ancient people. Therefore, copying must have a process of entry and exit, and cannot blindly follow the past and remain unchanged.

　　2．臨摹法帖，在探求筆法，而不是刻畫(huà)外形。臨摹的目的是弄清其筆法規(guī)律、所致之由，由個(gè)別而掌握一般，而不是機(jī)械描摹其形狀。運(yùn)筆方法不對(duì)，即使一點(diǎn)一畫(huà)都描得十分逼真，那也無(wú)益于對(duì)書(shū)法筆法、規(guī)律的掌握。

　　2. Copying calligraphy focuses on exploring brushwork rather than depicting appearance. The purpose of copying is to understand the rules of its brushwork and the reasons behind it, and to grasp the general situation from an individual perspective, rather than mechanically tracing its shape. The brushstroke technique is incorrect, even if the strokes are drawn very realistically, it is not conducive to mastering the calligraphy strokes and rules.

　　3．臨摹以掌握筆法為目的，不以外形描摹為目的，決不意味著臨摹者可以任意發(fā)揮。相反，為了使臨書(shū)者能準(zhǔn)確掌握筆法技巧，建立在正確方法基礎(chǔ)上的“形似”也是十分必要的。只有在“正確方法”加“形神畢肖”兩者統(tǒng)一的前提下，臨摹者才可能真正深入筆法的“深海區(qū)”，探觸到筆法的細(xì)微處，由此也才可能真正掌握一種書(shū)法范本或÷個(gè)書(shū)家在筆法開(kāi)拓上的**勝處。因此，臨摹反對(duì)不講方法的亦步亦趨．，但堅(jiān)持正確方法前提下的形神畢肖。

　　3. The purpose of copying is to master the brushwork, not to describe the appearance, which does not mean that the imitator can freely play. On the contrary, in order for the calligraphers to accurately master the brushwork skills, it is also necessary to establish a "similarity in form" based on the correct method. Only under the premise of the unity of "correct method" and "form and spirit Bi Xiao", can the imitator truly delve into the "deep sea" of brushwork, explore the subtle aspects of brushwork, and thus truly master a calligraphy template or the strengths of a calligrapher in brushwork development. Therefore, copying opposes the trend of not emphasizing methods, but adheres to the premise of correct methods and the spirit and form of Bi Xiao.

　　二、書(shū)法與文學(xué)的關(guān)系

　　2、 The Relationship between Calligraphy and Literature

　　書(shū)法和文學(xué)，都是人生激情的吐露，兩種藝術(shù)雖屬不同藝術(shù)類(lèi)別，但在精神與表現(xiàn)上，卻息息相通。書(shū)情的暢達(dá)，可以推動(dòng)文思的妙響；文思的高逸，也可帶動(dòng)書(shū)意的高翔。

　　Calligraphy and literature are both expressions of life's passion. Although they belong to different artistic categories, they are closely related in spirit and expression. The smooth flow of literary emotions can promote the wonderful sound of literary thought; The elegance of literary thought can also drive the soaring of literary meaning.

　　三、隱含的書(shū)法“生態(tài)形式”及其結(jié)構(gòu)

　　3、 The implied ecological form and structure of calligraphy

　　書(shū)法藝術(shù)的文化生態(tài)形式由以下幾個(gè)層次組成：(1)文字語(yǔ)義層；(2)筆墨外形層(點(diǎn)畫(huà)儀態(tài)、結(jié)構(gòu)樣式)；(3)墨象層(筋骨肉血、精神氣質(zhì))；(4)歷史文化層(性情道德倫理)。

　　The cultural ecological form of calligraphy art consists of the following levels: (1) the semantic layer of characters; (2) Pen and ink appearance layer (dot drawing posture, structural style); (3) Ink like layer (muscles, flesh, blood, spiritual temperament); (4) Historical and cultural level (moral and ethical aspects of character).

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