本文關(guān)鍵詞： 書(shū)法批評(píng) 模式 書(shū)法審美 層次性 檢視 展望　出處：《中國(guó)書(shū)法》2017年22期 　論文類(lèi)型：期刊論文

【摘要】：從歷史縱向看,書(shū)法批評(píng)面臨著三種困境:一是書(shū)法批評(píng)內(nèi)容的不確定,二是書(shū)法批評(píng)標(biāo)準(zhǔn)的缺失,三是書(shū)法批評(píng)方法的模糊性。傳統(tǒng)書(shū)法批評(píng)存在的問(wèn)題對(duì)開(kāi)展當(dāng)代書(shū)法批評(píng)的啟示是要處理好三對(duì)關(guān)系,即主觀性與客觀性、一般性與多樣性、感性表達(dá)與理性思辨。在此基礎(chǔ)上,以書(shū)法審美的層次性作為切入點(diǎn),從書(shū)法批評(píng)框架構(gòu)建、主體培養(yǎng)、平臺(tái)搭建及機(jī)制培育等方面積極推進(jìn)當(dāng)代書(shū)法批評(píng)模式的構(gòu)建與完善。
[Abstract]:From the historical vertical point of view, calligraphy criticism is faced with three kinds of difficulties: the uncertainty of the content of calligraphy criticism, and the lack of the standard of calligraphy criticism. Thirdly, the fuzziness of the methods of calligraphy criticism. The problems existing in the traditional calligraphy criticism should deal with three pairs of relations, namely, subjectivity and objectivity, generality and diversity. Based on the perceptual expression and rational thinking, this paper takes the hierarchy of calligraphy aesthetics as the starting point and actively promotes the construction and perfection of contemporary calligraphy criticism mode from the aspects of calligraphy criticism frame construction, subject cultivation, platform construction and mechanism cultivation.
【作者單位】： 上海市虹口區(qū)人民法院;
【分類(lèi)號(hào)】：J292.1

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