盛唐美学理论强音——张怀瓘书画理论的美学史意义  

Theory Loudness in Aesthetic of Grand Tang's Dynasty——Aesthetic Meaning of Zhang Huaiguan's Theory

作　　者：王汝虎[1] 傅合远[2] Wang Ruhu，Fu Heyuan

机构地区：[1]复旦大学中文系 [2]山东大学儒学高等研究院

出　　处：《理论界》2016年第10期90-97,共8页Theory Horizon

基　　金：2012年度山东省社会科学重点项目(项目名:张怀瓘书法美学思想研究。项目编号:12BWXJ03)阶段性成果

摘　　要：作为唐代书法理论的代表人物,张怀瓘构建了宏大的书法美学理论体系,不仅在书法史上具有十分重要的历史地位,而且亦具有十分重要的美学史意义。其"风神骨气"的审美理想,表征着盛唐美学气象;其"神彩"说则代表着唐代美学理论的高峰;其"神、妙、能"三品的审美评价体系的建立,对后世书画品评和美学理论的建构都具有十分重要的历史影响;其推崇"骨丰肉润"的形式美学观念,确立了后世书法形式批评核心概念和范畴。As a representative figure of the Tang dynasty＇s calligraphy theory,Zhang Huaiguan built an grand system in calligraphy theory.It has very importantl position in the history of Chinese calligraphy, but also has important meaning of aesthetics.His aesthetic ideal——＂ vigor of style＂, is the characterization of the glorious age of tang poetry aesthetics; His ＂ theory of glowing look＂,represents the peak of aesthetic theory in the tang dynasty; his three rank of ＂ She、 Miao、Neng＂, as the doctrine of the aesthetic evaluation system, has the very important historical influence;his form aesthetic ideal——＂Gu Feng Rou Run＂,establishe the the core concepts in the future calligraphy form criticism.

关 键 词：张怀瓘 风神骨气 神彩说 

分 类 号：J29[艺术—美术]