本文選題：龍?zhí)扉T(mén) + 虎臥鳳閣　； 參考：《中國(guó)書(shū)法》2017年22期

【摘要】：梳理與辨析古典書(shū)論的批評(píng)語(yǔ)言,是繼承與轉(zhuǎn)換古典傳統(tǒng)、開(kāi)展當(dāng)代書(shū)學(xué)批評(píng)的必要前提。隋唐以降,原本含有貶義的書(shū)評(píng)語(yǔ)匯"龍?zhí)扉T(mén)",在書(shū)寫(xiě)傳抄過(guò)程中發(fā)生訛誤或者妄改,又經(jīng)宋代《淳化閣帖》的刊刻而廣為流布,逐漸成為對(duì)王羲之書(shū)法的一種"定評(píng)"(誤評(píng))。在文獻(xiàn)梳理與考辨的基礎(chǔ)上,可以發(fā)現(xiàn)"龍?zhí)扉T(mén)"遮蔽了王羲之書(shū)法最重要的美學(xué)內(nèi)核。而更原始的袁昂《古今書(shū)評(píng)》卻包含了豐富性,凸顯了王羲之書(shū)法的超逸、自然、隨意、性情等特征,揭示了王羲之面對(duì)傳統(tǒng)時(shí)透出的主體性與創(chuàng)新精神。
[Abstract]:Sorting out and discriminating the critical language of classical book theory is the necessary prerequisite for inheriting and transforming classical tradition and carrying out contemporary criticism of calligraphy. In the Sui and Tang dynasties, the original derogatory word for book review, "the Dragon jumps to Heaven", was widely distributed in the Song Dynasty by the publication of the "Chun Hua Pavilion", which was corrupted or improperly changed in the process of writing and transmitting. It has gradually become a "definite comment" on Wang Xizhi calligraphy. On the basis of literature combing and textual research, it can be found that the most important aesthetic core of Wang Xizhi calligraphy is covered by "Dragon jumping Heaven Gate". But Yuan Ang's book review of ancient and modern times contains richness, which highlights the characteristics of Wang Xizhi calligraphy, such as superfluous, natural, random and temperament, and reveals the subjectivity and innovative spirit that Wang Xizhi reveals when facing the tradition.
【作者單位】： 華東師范大學(xué);
【分類(lèi)號(hào)】：J292.1
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本文編號(hào)：1947796