论书法美学尚“趣”思想的历史嬗变  

Discussion of "qu" in the Aesthetic Visual Field of Chinese Calligraphy

作　　者：何世剑[1] 

机构地区：[1]南昌大学艺术与设计学院,江西南昌330074

出　　处：《南华大学学报（社会科学版）》2009年第6期31-34,共4页Journal of University of South China(Social Science Edition)

基　　金：江西省高校人文社会科学研究项目"中国古代文艺美学范畴个案研究"资助(编号:WX0807)

摘　　要："趣"是中国书法理论批评视野的重要审美范畴,书"趣"论发展经历了三个阶段:作为书法审美概念,它在汉魏六朝被引入书学批评中;唐宋时期得到充实和发展,并逐渐升格为一个书法审美批评范畴;明清时期,论家对"趣"作为书法艺术的本质、特征及其来源、生成等予以了深化论述,"尚趣"呈现出前所未有的盛兴局面,体现为一种时代艺术精神和一股艺术审美思潮相别于前朝。＂Qu＂ is one of the most important aesthetic category in the aesthetic visual field of Chinese calligraphy. The develop- ment of the Chinese calligraphy on ＂mei＂ goes through three stages ： In the Wei Jin and the Northern and Southern Dynasties, ＂qu＂ as aesthetic criticism concept of painting was introduced to the calligraphy criticism; In the Tang and Song Dynasty, the research of ＂qu＂ in calligraphy was further substantiated and developed, as a result, ＂qu＂ was promoted as the aesthetic criticism category of calligraphy gradually; while in the Ming and Qing Dynasty, theoreticians further described ＂qu＂ as essence, characteristic, source and produce of calligraphy art, at the same time, pursuing ＂qu＂ demonstrated unprecedented prosperity situation which reflected as artistic spirit for that era and that aesthetic ideological trend of art was different from previous dynasties.

关 键 词：中国 书法理论 书趣论 审美范畴 

分 类 号：J292[艺术—美术]