| 中国书法美学视野中的书“韵”论 |
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| 引用本文： | 何世剑.中国书法美学视野中的书“韵”论[J].成都师专学报,2008,27(1):91-95. |
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| 作者姓名： | 何世剑 |
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| 作者单位： | 南昌大学艺术与设计学院,江西南昌330074 |
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| 摘 要： | “韵”是中国书法美学视野中的重要审美范畴，其运行轨迹，大致是衍化于唐前，成型于宋，深化于元明清。书“韵”生成，源发自书法主体有雅量、气度、神采、高格；对于书法客体来说，即书作要能有“余意”、“态度”、“书外意”、“幽趣”；创作方法上，“和”是要领，多用“卧笔”、“圆笔”、“提笔”、“飘笔”，须“藏锋”、“虚和取韵”。
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| 关 键 词： | 书法美学 书“韵” 渊源流变 生成机制 |
| 文章编号： | 1672-8505（2008）01-0091-05 |
| 收稿时间： | 2007-09-28 |
＂Yun＂ in the Aesthetic Visual Field of Chinese Calligraphy |
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| HE Shi-jian.＂Yun＂ in the Aesthetic Visual Field of Chinese Calligraphy[J].Journal of Chengdu Teachers College,2008,27(1):91-95. |
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| Authors: | HE Shi-jian |
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| Institution: | HE Shi-jian (School of Art and Design, Nanchang University, Nanchang, Jiangxi, 330074) |
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| Abstract: | ＂ Yun＂ is one of the most important aesthetic categories in the aesthetic visual field of Chinese calligraphy. ＂Yun＂ was introduced to the painting criticism before Tang Dynasty, shaped in Song Dynasty and substantiated and developed in Yuan, Ming and Qing Dynasties. That＇s to say, its formulation comes from subject＇s magnanimity, manner, expression, and high moral character. As far as object is concerned, the works of calligraphy need to have implication or insinuation. The methods of creation strive for harmonious style, so ＂horizontal stroke＂, ＂circular stroke＂, ＂upward stroke＂ and ＂fluttering stroke＂ are used in most works, which need to hide tip of writing brush so as to falsehood versus reality. |
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| Keywords: | aesthetic calligraphy Yun rheology of origin production mechanism |
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