论米芾书法的章法及其启迪意义  

On the Methodicalness of Mi Hu's Calligraphy and its Enlightening Significance

作　　者：张江林[1] 周兴禄[2] ZHANG Jianglin;ZHOU Xinglu(Tongren University, Tongren, Guizhou 554300, China;Guizhou University, Guiyang, Guizhou 550025, China)

机构地区：[1]铜仁学院马克思主义学院,贵州铜仁554300 [2]贵州大学中国文化书院,贵州贵阳550025

出　　处：《铜仁学院学报》2017年第2期93-97,共5页Journal of Tongren University

基　　金：贵州省教育厅高等学校人文社会科学研究基地项目"书法与国学关系研究"(2016JD002)

摘　　要：米芾书法字组组合变化丰富,行气连贯而摇曳,呈单轴摆动,虚实、墨色枯润、线条粗细、字形大小等对比强烈。整篇布局自然,结字成篇,依字形繁简、所处位置,随机变化。其参差不齐的章法形式既有传统书写习惯"平缺式"的影响,也有自己的创造。其对唐楷有偏见,对各种字体的适用章法、各种章法的适用场合等未给予充分重视,其章法理论的缺陷在于缺乏对"异量之美"的包容。其对章法的探索对书法学习者很有启迪与示范性意义。The methodicalness of Mi Hu’ calligraphy is rich. Firstly, The character composition is changeful and the line space is coherent and swaying in a homotaxial way. Besides, there are various contrasting elements including emptiness and fullness, dullness and smoothness of ink color, thickness and thinness of lines as well as the size of character patterns etc, the contrast of which is extremely obvious. Furthermore, the layout of the whole text is natural, which is changed randomly and arranged inartificially in accordance with the complicatedness and simplicity of characters as well as the position where they lie, hence absent from being uniform in size and order.The unevenness of his handwriting is not only influenced by the traditional writing habit of “flatness” but also by thestyle created by himself. He has a prejudice against the standard style of Tang’s handwriting and pays no muchattention to the methodicalness which is applicable to various character fonts and the occasions in which the methodicalness is applicable to. The deficiency of his methodicalness theory in calligraphy lies in his intolerance with “the beauty of the alien elements ”. The probe on his handwriting methodicalness has an enlightening and exemplary significance to those who are learning calligraphy today.

关 键 词：米芾 书法 章法 启迪 

分 类 号：J292.11[艺术—美术]