书法中的悲与喜——从“悲剧性”和“心流”的角度解读书法史  

Sadness and Joy in Calligraphy:Interpreting thecalligraphyhistory from the perspective of"tragicalness"and"flow of heart"

作　　者：周睿[1] Zhou Rui

机构地区：[1]南京艺术学院美术学院,江苏南京210013

出　　处：《南京艺术学院学报（美术与设计）》2022年第3期29-35,I0002,共8页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：国家社科基金艺术学项目“中国书论范畴集解”阶段性成果(20BF100)。

摘　　要：历代书论中深入探讨书法之悲与喜的内容很少,本文结合中西美学范畴知识,从悲剧性包含的多个类型诠释书法史上的代表书家和作品,梳理出书家悲剧精神的渊源以及在形式表达上的特点与创造过程。援用儒道思想探究书法之喜背后的审美需求与人生理想,并借鉴现代心理学的“心流”理论,揭示其中的深层心理动力。there is ver y little in-depth discussion on the sadness and happiness of calligraphy in the calligraphic theories of past dynasties.This paper,based on the knowledge of Chinese and Western aesthetic categories,interprets the representative calligraphers and works in the histor y of calligraphy from multiple types of tragicalness,and combs out the origin of the tragic spirit of calligraphers,as well as their characteristics in formal expression and creative process.This paper uses Confucianism and Taoism to explore the aesthetic needs and life ideals behind the joy of calligraphy,and uses the"flow of heart"theor y of modern psychology to reveal the deep psychological power.

关 键 词：书法 悲 喜 悲剧性 儒家人格 审美愉悦 心流 自由 

分 类 号：J292.1[艺术—美术]