论书法中的“势”  

On "Power" of Calligraphy

作　　者：杨豪良[1] 

机构地区：[1]襄樊学院美术学院,湖北襄阳441053

出　　处：《襄樊学院学报》2012年第1期73-77,共5页Journal of Xiangfan University

摘　　要：书法史上最早出现"势"这个概念是在秦汉时期,此后,历代书法家对书势的审美意蕴不断有所阐扬,保持着认识上的基本一致,进行着渐进的、补充式的充实,只不过没有给"势"以明确的定义。笔者以为,"势"依"形"而现在,无"形"则无"势",书法的文本在"形势"的作用中获得感性的生命存在;"势"通过"纵横化"得以体现,这种"横变纵化"其实是力的变化,是力的矢量方向的变化;"气"是"势"的根本性存在,作为书法中因素,"气"表现在书法创作与书法形象中,就是作品中所显现出来的动态风韵、精神气质。之所以说书法之势内涵广大,又表现出一种不确定性,其中有一个重要原因在于书法之势的全息性质和蕴涵的模糊之美。所以,"势"既是力与力的趋向,又是形,还是气,是它们相化合的真实存在,"势"通过"形"而得以观瞻,"气"则是其内在的生命依存。"势"是一个有虚有实的复质的客观存在,在不同的情形下给人的感受不同。In the history of calligraphy,the idea of power initiated early in Qin-Han Dynasty,and the late calligraphers constantly expounded the esthetical implication of the calligraphic power with basically the same cognition,made gradual improvement but didn＇t give an explicit definition to it.The ＂power＂ of calligraphy lies in the ＂shape＂ of calligraphy with no ＂shape＂ no ＂power＂.The text of calligraphy gets its perceptual existence with the help of ＂shape and power＂,while the ＂power＂ presents through ＂vertical and horizontal changes＂,which is the change of force in vector.The ＂qi＂ lies in ＂power＂,and in the process and image of calligraphy,the dynamic charm and spiritual disposition emerges in the ＂qi＂.Therefore the rich content of calligraphy is characterized with uncertainty,and one of the important reasons is the holography and the obscure beauty of the calligraphy＇s power.The ＂power＂ is the representation of joint-force,is the ＂shape＂ and is the ＂qi＂,working together.The ＂power＂ represents through ＂shape＂,and the ＂qi＂ is the internal element.The ＂power＂ exists both in reality and empty,leaving people different perception in different cases.

关 键 词：书法 书势 全息学 

分 类 号：J292.1[艺术—美术]