文质·神彩·才性——关于张怀瓘一组书法美学范畴之考察  

The Ornamental and the Real,Spirit and Talent:An Investigation of Zhang Huaiguan’s Calligraphy Aesthetics Category

作　　者：王延智[1] Wang Yanzhi

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6期146-150,I0007,共6页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：江苏省高校哲学社会科学研究一般项目《晋唐书法“才性论”研究》(2020SJA0402);江苏高校哲学社会科学研究重大项目《中国书法传统审美范畴及对偶范畴研究》(2019SJZDA120);南京艺术学院校级科研创新团队建设项目资助。

摘　　要：在张怀瓘书学范畴中,“神彩”作为正价核心范畴是“文质”范畴的具体化和深化,用以推扬文质炳耀、表里充实的审美境界。张怀瓘认为创作主体气禀各异,批评了“古质今妍”优劣论,做出了“齐圣跻神,妙各有最”的论断,由此演绎出工夫论上的两条原则,即“顺其性,得其法”和“先其质而后其文”。In the category of Zhang Huaiguan’s calligraphy, "spirit",as a positive core category,is the embodiment and deepening of the category of "the ornamental and the real",which is used to promote the aesthetic realm of brilliant literary quality and substantial expression.Zhang Huaiguan believed that the creative subject had different temperament,criticized the evaluating theory of "ancient the real and today the ornamental",and made the conclusion that "all saints are among gods,and each has the best",thus deducing two principles in the theory of practice,namely, "conforming to its nature,obtaining its method" and "the real first,and then the ornamental".

关 键 词：张怀瓘 文质 神彩 才性 范畴 

分 类 号：J292[艺术—美术]