从古今书评之比较反思当代书法批评

发布时间：2018-03-07 03:28

本文选题：书法批评　切入点：书法实践　出处：《书法赏评》2011年05期 　论文类型：期刊论文

【摘要】：正胡传海先生曾在《中国艺术报》上这样总结2006年的书法理论状况:"当今书法批评的薄弱和落后,从而导致了书法理论研究"跛脚"状态的出现……应该说这种现象已经存在了很长的时间,在2006年依然没有得到足够的重视,依然没有得到很好的解决。"胡文在最后呼吁中国书法理论研究的"跛脚"状态早日结束,时至今日,不知胡先生是否认为书法理论的"跛脚"局面得到了扭转,书法批评是否有了实质性的进展。但笔者一直在思考一个问题,即古代是否有过真正意义上的书法批评,现代意义上的书法批评又是从何时开始的,当今书法的颓废是否应该由书法批评者来埋单?这是我们该当心中有数的问题,因为批评的最终目的是要促进书法的发展而非赢得批评本身的繁荣。如果在批评者过了嘴瘾、书法批评百家争鸣之后书法的发展仍然是一潭死水,那么这种批评是可悲的;若批评只能止步于理论建设层面而不能在书法实
[Abstract]:Zheng Hu Chuanhai once summed up the calligraphy theory of 2006 in the China Art Journal: "Today's calligraphy criticism is weak and backward. This has led to the emergence of a "crippling" state in the theoretical study of calligraphy. It should be said that this phenomenon has existed for a long time, and in 2006 it still did not receive enough attention. "Hu Wen finally called for an early end to the" crippling "state of Chinese calligraphy theory. Today, I wonder if Mr. Hu believes that the" crippling "situation of calligraphy theory has been reversed. Whether there has been substantial progress in calligraphy criticism. But the author has been pondering whether there was any real calligraphy criticism in ancient times, and when calligraphy criticism in the modern sense began. Should calligraphy critics pay for the decadence of calligraphy today? This is a question we should be aware of, because the ultimate purpose of criticism is to promote the development of calligraphy, not to win the prosperity of criticism itself. The development of calligraphy is still a pool of stagnant water after a hundred schools of thought contend, then this criticism is sad; if criticism can only stop at the level of theoretical construction and not be practical in calligraphy
【作者单位】：陕西师范大学美术学院;
【分类号】：J292.1

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