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1、單擊此處編輯母版標(biāo)題樣式,單擊此處編輯母版文本樣式,第二級,第三級,第四級,第五級,*,單擊此處編輯母版標(biāo)題樣式,單擊此處編輯母版文本樣式,第二級,第三級,第四級,第五級,*,書法,文化,翻譯,吳卉,2010.11.21,History of Calligraphy,Pre-Qin Calligraphy:Obscure,Mysterious and Unique,Shang dynasty,oracle-bone inscriptions,(Anyang,Henan.,Hidden Turtle in the Iron Cloud),Pictograph,Pre-Qin Calligraph
2、y:Obscure,Mysterious and Unique,Bronze inscriptions,phonograms,Pre-Qin Calligraphy:Obscure,Mysterious and Unique,Spring and Autumn period:,Stone drum inscription,Kang Youwei:“the origin of,calligraphic rules”,書法第一法則,Set up the criterion for large,script which is the precursor,of small seal script,Ca
3、lligraphy of the Qin and Han Dynasties:Standard and Elegant,Li Si:abolished different forms and made small seal script official script for the whole nation.,Round stroke;same thickness;tenacity,Calligraphy of the Qin and Han Dynasties:Standard and Elegant,Calligraphy on bamboo or wood slips and silk
4、:also known as ancient clerical script,which is a transitional form between ancient script and modern script.,Calligraphy of the Qin and Han Dynasties:Standard and Elegant,Qin Dynasty:Cheng Miao“clerical script”,Han Dynasty,Transformation of clerical script,Calligraphy of the Qin and Han Dynasties:S
5、tandard and Elegant,Cai Yong:“flying white”style,Calligraphy in the Wei,Jin and Southern&Northern Dynasties,Wei kingdom period:Zhong Yao,originator of regular script,楷書之祖,Eastern Jin,Newness and grace,（新妍）,replaced simplicity and clumsiness.,Wang Xizhi:regular script and running script(Preface to th
6、e Literary Gathering at the Orchid Pavilion),Wang Xianzhi:cursive script,Calligraphy in the Wei,Jin and Southern&Northern Dynasties,Stele inscription of the Northern Dynasties and rubbing calligraphy of the Southern Dynasties(,北碑南帖,),Wei stele inscription,Calligraphy of the Sui and Tang Dynasties:fr
7、esh,profound and magnificent,Sui Dynasty:transitional period,Zhi Yong:regular and cursive,script,Thousand-character Essay,Calligraphy of the Sui and Tang Dynasties:fresh,profound and magnificent,“Four masters of the Early Tang Dynasty”,歐陽詢，虞世南，褚遂良，薛稷,Calligraphy of the Sui and Tang Dynasties,“Three
8、Outstanding Calligraphist for Cursive Script”,唐草三杰,賀知章 張旭（,Crazy Zhang,）懷素（,light ink,）,Calligraphy of the Sui and Tang Dynasties,Mid-Tang:Emperor Li Longji,唐玄宗,preferred full and round writing style,顏真卿 柳公權(quán),“,the muscles of,Yans calligraphy,and bones of,lius”,Calligraphy of the Song and Yuan Dynast
9、ies:slow but steady progress,Feudal society not booming;Confucianism,Taoism and Buddihism,Calligraphic style:in pursuit of expressiveness(project ones real interest and intention in the art of calligraphy,shake off the fetters left by the Tang dynasty),Calligraphy of the Song and Yuan Dynasties,Four
10、 Great Song Calligraphers,宋四家,蘇軾 黃庭堅(jiān) 米芾（,Crazy Mi,strong cleanliness,fond of dress from the Tang,stone as brother,）蔡襄,Calligraphy of the Song and Yuan Dynasties,Southern Song continued the style of the Northern Song calligraphy,Four Great Southern Song Calligraphers,南宋四家：陸游，范成大，朱熹（,denies the expres
11、siveness-pursuing calligraphers,），張孝祥,Calligraphy of the Song and Yuan Dynasties,Yuan dynasty:Kublai Kahn advocated for classic calligraphy,“returning to the ancients”,復(fù)古思想,Zhao Mengfu,one of“Four Grand Masters of Regular Script”,Different opinions,Calligraphy of the Ming and Qing Dynasties,Ming:“Ta
12、ige Style”,Qing:Wenziyu(imprisonment due to writing),Calligraphy weaker and humbler,Prevailing of epigraphy,priority to stele inscriptions,Calligraphy of the Ming and Qing Dynasties,Ming dynasty:Wumen School,吳門書派,Seemingly an effort to bring back the tradition of valuing the regular style and writin
13、g regular style but in essence,it is a correction of defects seen in the works in the early Ming dynasty.,祝允明，文征明,Huating Calligraphers,華庭書派 董其昌,Calligraphy of the Ming and Qing Dynasties,Late Ming:emancipation of individuality,徐渭,:cursive style,“Four Masters of Late Ming Dynasty”,晚明四大家：張瑞圖，董其昌，邢侗，米
14、萬鐘,Early Qing:continued the trend toward innovation,傅山，張板橋,Calligraphy of the Ming and Qing Dynasties,Golden Era for Calligraphy in the Qing Dynasty,書道中興,包世臣“,the number on of the Qing dynasty”,天朝第一,seemingly clumsy strokes,stele inscriptions,中國書法與文化,書法與周易哲學(xué),“,易,：以道陰陽?！?乾卦：純陽,坤卦：純陰,一陰一陽之謂道,陰陽相濟(jì)才能臻于天
15、地宇宙的大和諧，所以，要保持食物的多樣性，讓各種差異能夠在整體的和諧中并行不悖，達(dá)到“和而不同”。,書法與周易哲學(xué),用筆的“陰陽相應(yīng)”，以筆之動為陽，以墨之靜為陰；以筆取氣為陽，以墨生彩為陰。（比如大和小，方和圓，疏和密。）,褚遂良,陰符經(jīng),柔中帶剛，,既有韌勁和骨力,書法與周易哲學(xué),周易,的卦爻符號及其有限，可謂意象“至簡”，但是所謂易道廣大，表意甚豐。,周易,中的言象互動系統(tǒng)，對于中國美學(xué)和藝術(shù)的最大意義，就在于易簡的思想，用晦的思想。它認(rèn)為，言不盡意，必須立象以盡意?！?象,”，直接啟迪著中國藝術(shù)家去擴(kuò)大意象符號的意義空間，而這正是中國藝術(shù)意象理論的核心。,書法與周易哲學(xué),書法是抽象，概
16、括的。,以簡易蘊(yùn)含豐美,它形式最為簡單，最單純，最抽象，只不過是一些單純的點(diǎn)畫往來，線條連綿，色彩也不過是最簡單，最素樸的黑白二色，但是，在其中卻蘊(yùn)含著最概括，最豐富的生命意趣。,書法與氣化哲學(xué),中國氣化哲學(xué)認(rèn)為，氣是生命的本原，是“體之充也”。,書法里要具有氣，唯有這樣，書法才是活生生的，才充滿了生命的精神和情趣。,書法與氣化哲學(xué),布白：虛空即氣,中國人對于虛空，空白持有與西方不同的態(tài)度。,西方：接受現(xiàn)實(shí)的物質(zhì)世界。西方藝術(shù)：充滿著對于可見世界美妙景象的感受。對于自己不能利用或?qū)Ω兜臇|西退避三舍。對“虛”，“空”這些概念和觀念保持距離。,道家：用“虛”，“空”等概念按時和象征“道”，重視這種使萬物成為一體并為其提供能量的道，渴望天人合一。,西方：以繁盛為美,道家：以空靈為美 “無”就是氣，氣就是生命,米芾，春山瑞松圖 虛靈飄蕩之氣,書法與儒家哲學(xué),毛筆的特性：柔軟,書法家在書寫中能創(chuàng)造出無窮的變化。但又有剛健的力量，即其彈性。,該特性契合了儒家文化?！叭濉弊謴奈淖謱W(xué)的觀點(diǎn)來看，是“柔”也，是人之所需。（從需字旁的字，都有“柔軟”之意。孺子，若米，懦弱，蠕動。）孔子：仁愛,孟子補(bǔ)充“義
書法文化(中英文)
