书法创作语言体系分析  

Analysis of Language System in Chinese Calligraphy Creation

作　　者：马国俊[1] 

机构地区：[1]甘肃教育学院中文系,甘肃兰州730000

出　　处：《甘肃教育学院学报（社会科学版）》2001年第3期48-50,共3页Journal of Gansu Education College(Social Sciences)

摘　　要：纵观中国书法创作史，从扬雄、许慎的“心象”说，到赵壹、蔡邕的“气势”说；从王僧虔的“神形”说，到孙过庭的“情形”说；从蔡襄的“神气”说，到刘熙载的“体用”说，可以看出，中国书法创作始终以“意象”为主轴，在“意”和“象”的适度范围内左右波动，形成了一个以形求神、以象表意的书法创作语言的流动曲线。书法意象语言可分为表形的“象”和表情的“意”。这里的线条、结构、篇章等，均构成了书法语言材料的集合体──“象”。因此，“象”是可视的，“意”只能通过“象”来体现。Taking a sweeping view of the history of Chinese calligraphy,we may notice that imagery has all along been the spindle of calligraphy creation, which has always been fluctuating within the score of 'meaning' and 'resemblance', thus forming a floating curve of calligraphy creating language. This language seeks likeness in spirit as well as in appearance of calligraphy.The curves,structures and layout all constitute a complex of its language materials-resemblance.So resemblance is visible, while meaning can only be reflected through the likeness in appearance.

关 键 词：书法创作 语言体系 书法意向 理论研究角度 书法创作语言 

分 类 号：J292.1[艺术—美术]