三国两晋南北朝时期的书法美学特征  

Features of Calligraphic Aesthetics in the Three Kingdoms,the Western and Eastern Jin Dynasty and the Northern and Southern Dynasty

作　　者：黄鸿琼[1] 

机构地区：[1]泉州师范学院人文学院,福建泉州362000

出　　处：《泉州师范学院学报》2009年第1期89-93,共5页Journal of Quanzhou Normal University

摘　　要：继汉代书法觉醒之后,三国、两晋、南北朝时期的书法美学进入了自为阶段。书法美学思想蓬勃发展,并达到空前的繁荣,出现了大量的书家、书论,在汉代书法美学思相的基础上提出了新的美学观点,崇尚自然,追求妍美,并开创了书法品评之风,形成了中国古典书法美学史上的第一个高峰期。To continue the awakening of the calligraphy in the Han Dynasty, in the Three Kingdoms, the Western and Eastern Jin Dynasty and the Northern and Southern Dynasty,calligraghic aesthetics went into a self-making stage in which calligraphic aethatics developmented vigorously and unprecedentedly flourished,and appeared some calligraphers and calligraphy theories. The times initiated the ethos of calligraphy judges, greeted the first peak period of the classical calligraphic aethetics in the chinese history.

关 键 词：玄学 妍美 书家 书风 书论 

分 类 号：J292.23[艺术—美术]