当今书法展览场域下的审美心态
发布时间：2019-01-27 17:07
【摘要】：正一有论者评说当今书法展览形成的审美场域,就是王羲之持作品参与,也是无缘入展或得奖的。这当然是一个俏皮的比喻。但是,王羲之的书法作品肯定是与这个审美场域无缘的——尽管当今还对他顶礼膜拜,以他的书法作品为范,但置换到当代这个展览空间里,已经全然不适应了。不同时期的审美场域对书法作品有着不同的要求,使合者进入,离者止步。欧阳修曾认为魏晋间人的笔墨遗迹就是一些吊哀候病、叙暌离、通讯问的信札,不过数行
[Abstract]:Critics say that the aesthetic field formed by the calligraphy exhibition is Wang Xizhi's participation in the exhibition and his failure to win the exhibition or award. This is, of course, a witty metaphor. But Wang Xizhi's calligraphy must be out of touch with this aesthetic field-although he is still worshipped and modelled on his calligraphy, it is completely out of place in the contemporary exhibition space. The aesthetic field of different periods has different requirements for calligraphy works. Ouyang Xiu used to think that the ink and pen remains of the people in the Wei and Jin dynasties were just some hanging and mourning diseases, leaving their families, letters and letters of communication, but only a few lines.
【作者单位】： 福建师范大学美术学院;
【分类号】：J292.1
本文编号：2416492
[Abstract]:Critics say that the aesthetic field formed by the calligraphy exhibition is Wang Xizhi's participation in the exhibition and his failure to win the exhibition or award. This is, of course, a witty metaphor. But Wang Xizhi's calligraphy must be out of touch with this aesthetic field-although he is still worshipped and modelled on his calligraphy, it is completely out of place in the contemporary exhibition space. The aesthetic field of different periods has different requirements for calligraphy works. Ouyang Xiu used to think that the ink and pen remains of the people in the Wei and Jin dynasties were just some hanging and mourning diseases, leaving their families, letters and letters of communication, but only a few lines.
【作者单位】： 福建师范大学美术学院;
【分类号】：J292.1
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