【摘要】：對于書法與道德,書法的"工"與"拙",從古至今都未曾停止過討論。在蘇軾的書法理念中,也明確提出"書有工拙,而君子小人之心不可亂也"之論。認為書有工拙之分,并以為工拙之分不是書法評介的目的,君子與小人之字不在于工拙與否,且明確提出君子與小人之字是不可等同視之的。在今天這個書法盛行的時代,也多是以"工""拙"作為書法的批評標準。但這似乎違背了古人認識書法的習慣,為此本文以蘇軾為例探析古人的書法道德觀及與"工""拙"的關系。
[Abstract]:For calligraphy and morality, calligraphy's "workmanship" and "clumsiness" have not stopped discussion since ancient times. In Su Shi's calligraphy idea, he also put forward the theory that "the book has works and is clumsy, but the mind of the gentleman and the villain should not be confused." The author thinks that the book has the distinction of workmanship and clumsiness, and taking it as the classification of workmanship is not the purpose of calligraphy evaluation, the character of gentleman and villain does not lie in whether the work is clumsy or not, and it is clearly pointed out that the character of gentleman and villain cannot be regarded as equivalent. In today's calligraphy era, most of the calligraphy is based on "Gong" and "clumsy" as the standard of calligraphy criticism. But this seems to violate the ancients' habit of understanding calligraphy. Therefore, this paper takes Su Shi as an example to explore the relationship between the ancient calligraphy morality and the "clumsy" of "Gong".
【作者單位】： 云南大學;
【分類號】：J292.1
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本文編號：2243834