六朝书法美学及其自然主义精神

六朝书法美学在汉代的基础上进行了多向展开和细化,理论潜体系已初步形成。这个时代的书法创作处在积极拓展艺术表现可能性,追求变化多样、趣味丰富的历史阶段。与此相应,书法美学在创作论上总结了多种艺术创新途径。其中尤为强调从自然中获得的涵养对于创作的重要性。在作品论方面,既强调变化多姿的妍媚之美,又注重自然而然的效果,两极兼顾,形成"尚韵"的时代风貌。书法品评也日益具体化和客观化,理论探索与书法实践逐渐形成互动。"神"和"品"两个范畴的出现,表明书法艺术在形式创造上取得了新的进展,已越出可视的形式本身,由实入虚。无论是创作论、作品论还是鉴赏论,都贯穿着自然主义精神,它呈示出中国书法乃至中国艺术的一个重要特征。

The Calligraphy Aesthetics in the Six Dynasties and it's Spirit of Naturalism

The calligraphy aesthetics in the six dynasties has formed its underlying system, with its developing on the base of the Han Dynasty. The calligraphy pursues variety, taste, possibility of expression. Meanwhile, the calligraphy aesthetics sums up many new ways of art creation, and it especially lays stress on art creation acquiring spirit from nature. In terms of the Theory of Work, it lays stress on not only the beautiful and charming but also the natural, and forms the art characteristic of ＂Esteeming Yun＂. In terms of appreciation of calligraphy, it pursues the concrete and objective, and makes theory and practice help each other. The category ＂Shen＂ and ＂Pin＂ come out, which indicates abundant form creation in calligraphy art, and gets over form itself, from Reality into Unreality. For the Theory of Creation, the Theory of Work, the Theory of appreciation, they all have spirit of naturalism, and it is an important characteristic of Chinese calligraphy.