古代书论的一种二律背反:有限想像和无限想像——以《艺舟双楫》《广艺舟双楫》为例  

An antinomy in ancient calligraphic criticism: Limited and unlimited imagination

作　　者：张学峰[1] 

机构地区：[1]安徽师范大学美术学院,安徽芜湖241003

出　　处：《淮南师范学院学报》2015年第1期81-85,共5页Journal of Huainan Normal University

摘　　要：考察古代书论发现,有限的想像和无限的想像这种二律背反哲学悖论一直存在。究其原因,它和古代文化思维方式密切相关,和古代文学传统密切相关。古代书论从言语的使用一直到方法论,儒学道统的渗透无处不在。古代知识分子形成了一种形象性、感觉性较强,而抽象能力较弱的独特思维方法。这种思维方法投射到了古代书论中。文学的修辞方法与技巧,在书法评论中得到了延续和保留。In researching ancient calligraphic criticism, we found the extensive existence of limited and unlimited imagination. Inquiring into its origin, we discovered that it is closely related to the mindset and literary tradition of our culture. From language, diction to methodology, the infiltration of Confucianism extended everywhere. Intellectuals in ancient China developed a methodology with strong sense of image and feeling but weak in abstraction and logic. Such a mindset was also projected onto calligraphic criticism. The technique of employing rhetoric devices was unbrokenly kept in calligraphic criticism.

关 键 词：有限的想像 无限的想像 儒学 中庸 

分 类 号：I01[文学—文学理论]