蔡邕书论的美学思想  

The Aesthetics Ideology of the Calligraphic Theory of Cai Yong

作　　者：黄鸿琼[1] 

机构地区：[1]泉州师范学院文学院,福建泉州362000

出　　处：《三明学院学报》2006年第1期89-92,共4页Journal of Sanming University

摘　　要：蔡邕书论不但自觉地把语言学范畴的文字与美学范畴的书法区分开来,并且第一次较全面地、较系统地论述了书法美学的本质特征——书肇于自然、书法阴阳说、形、神、势、力、妙、书法的抒情性、“任情恣性”的创作自由状态。因此可以说蔡邕的书法美学思想是中国书法美学史上的第一块丰碑。他的书法美学思想启迪和影响了之后的书法美学理论和书法创作实践。Cai Yong＇s calligraphic theory not only consciously differentiates the characters belonging to the linguistics field from the calligraphy belonging to the aesthetics field, but also, for the first time, more comprehensively and systematically expounds the nature of calligraphic aesthetics. That is, calligraphy originates from the nature; calligraphy embodies yin and yang; calligraphy boasts form, spirit, power, strength and wonderfulness; calligraphy conveys one＇s emotion, and calligraphy requires the freedom to ＂let oneself go＂ in its creation .Therefore, we may say that Cai Yong＇s aesthetics ideology of calligraphy is the first monument in the aesthetics history of the Chinese calligraphy. His aesthetics ideology in calligraphy enlightens and influences the following aesthetics theory of calligraphy and their creative practice in calligraphy.

关 键 词：蔡邕 书法 美学思想 

分 类 号：J292.22[艺术—美术]