苏轼书法思想之“血气论”管窥  

A Brief Look at the“Blood and Spirit”of Su Shi's Calligraphy Thought

作　　者：宁中孟 NING Zhongmeng(Department of Chinese Language and Literature,Chinese National Academy of Arts,Beijing 100029,China)

机构地区：[1]中国艺术研究院中国语言文学系,北京100029

出　　处：《乐山师范学院学报》2023年第2期16-23,共8页Journal of Leshan Normal University

基　　金：中国艺术研究院基本科研业务项目“中国当代文艺理论、批评口述资料整理与研究”(2019-1-3)。

摘　　要：苏轼在《论书》中提出“书必有神、气、骨、肉、血,五者缺一,不为成书也”的观点,但并未详细解释,而且当下书法理论更重视对“形神”“风骨”等形而上范畴的探讨,相对忽视了其书法、书论的物质基础层面,即对“血气”观念的深入阐发。立足于血气论的物质基础,深入开掘其具体内涵:“血”是墨色光泽的核心源泉,“气”是笔墨、结体及笔势运行的动力;由此形成“以骨为体”“以肉为用”的血气表现形态,生成刚健有为、勇敢担当的血气审美境界。Su Shi put forward the view in“On Calligraphy”that“there must be spirit,vital energy,bone,flesh and blood in the calligraphy.Without one of the five,it is not calligraphy”.However,it has not been explained in detail,and the current calligraphy theory pays more attention to the discussion of metaphysical categories such as“form and spirit”and“character”,and relatively ignores the material basis of its calligraphy and calligraphy theory,that is,the in-depth interpretation of the concept of“blood and spirit”.Based on the material basis of the theory of blood and spirit,we should explore its specific connotation:“blood”is the core source of ink gloss,and“spirit”is the power of ink,structure and pen movement;the blood and spirit expression form of“bone as body”and“flesh as use”is formed;and a vigorous and courageous aesthetic realm is generated.

关 键 词：苏轼 书论思想 血气 血气审美 

分 类 号：J292.1[艺术—美术]