项穆书法“中和”美学思想研究
发布时间：2019-03-21 20:18
【摘要】：项穆书法“中和”美学思想以儒家中庸思想为哲学依据，延续了孙过庭等前代书法理论家的思想，从而形成了完整的书法哲学体系。中和思想作为历代书学思想的主流，产生了重要的影响。 文章以文献学研究的方法，，分析项穆“中和”思想的本质，即正确处理书法中的各种矛盾，使书法达到方圆兼备、刚柔相济、疏密相宜、和谐统一的状态。第一部分论述了项穆的生平。第二部分以历代书论为依据，从“中和”思想与“中和美”释义、书统论与今古观、书法艺术本体论、书法艺术创作主体论、书法艺术审美品格论批评五个部分整理、分析、归纳“中和”思想。第三部分从儒家中庸思想为项穆“中和”美学思想的基础、对孙过庭《书谱》等前代书论思想的继承、对王羲之书法艺术的深入实践、其他影响因素四个方面分析项穆“中和”美学思想形成的原因。第四部分从正、负两个方面客观评价项穆“中和”美学思想的意义。 文章并不是简单的讲述项穆《书法雅言》的内容，而是以历代书论家的观点为研究对象，结合项穆的书学背景及明代书法审美风尚，比较分析其书学观点的特殊价值，以便更好的理解“中和”思想的内涵，完善书法美学的体系。
[Abstract]:The aesthetic thought of "neutralization" in Xiang Mu's calligraphy is based on the Confucian mean, which continues the thoughts of Sun Gaoting and other previous calligraphic theorists, thus forming a complete system of calligraphy philosophy. Neutralization thought, as the mainstream of calligraphic thought in previous dynasties, has had an important influence. This paper analyzes the essence of Xiang Mu's thought of "neutralization" by means of documentary research, that is to say, to deal with all kinds of contradictions in calligraphy correctly, so that calligraphy can reach a state of being both square and round, rigid and flexible, close and suitable, harmonious and unified. The first part discusses Xiang Mu's life. The second part is based on the book theory of the past dynasties, including five parts: the thought of "neutralization" and the interpretation of "moderate harmony beauty", the theory of the book system and the view of modern and ancient times, the ontology of calligraphy art, the subject theory of calligraphy art creation, the criticism of aesthetic character theory of calligraphy art, and the analysis and analysis of the five parts. To sum up the thought of "neutralization". The third part is the foundation of Xiang Mu's aesthetic thought of "neutralization" from the Confucian mean, the inheritance of Sun Guo-ting's book-theory thought and the in-depth practice of Wang Xizhi's calligraphy art, which is based on the Confucian Doctrine of the mean and the aesthetic thought of "neutralization" of Xiang Mu. Other influencing factors are four aspects to analyze the formation of Xiang Mu's aesthetic thought of "neutralization". The fourth part objectively evaluates the aesthetic significance of Xiang Mu's "neutralization" from positive and negative aspects. The article is not simply about the content of Xiang Mu's calligraphy Ya Yan, but taking the viewpoint of the calligraphers of the past dynasties as the research object, combining Xiang Mu's calligraphic background and the aesthetic style of calligraphy in the Ming Dynasty, and comparing and analyzing the special value of his calligraphic viewpoint. In order to better understand the concept of "neutralization", improve the system of calligraphy aesthetics.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J292.1
本文编号：2445283
[Abstract]:The aesthetic thought of "neutralization" in Xiang Mu's calligraphy is based on the Confucian mean, which continues the thoughts of Sun Gaoting and other previous calligraphic theorists, thus forming a complete system of calligraphy philosophy. Neutralization thought, as the mainstream of calligraphic thought in previous dynasties, has had an important influence. This paper analyzes the essence of Xiang Mu's thought of "neutralization" by means of documentary research, that is to say, to deal with all kinds of contradictions in calligraphy correctly, so that calligraphy can reach a state of being both square and round, rigid and flexible, close and suitable, harmonious and unified. The first part discusses Xiang Mu's life. The second part is based on the book theory of the past dynasties, including five parts: the thought of "neutralization" and the interpretation of "moderate harmony beauty", the theory of the book system and the view of modern and ancient times, the ontology of calligraphy art, the subject theory of calligraphy art creation, the criticism of aesthetic character theory of calligraphy art, and the analysis and analysis of the five parts. To sum up the thought of "neutralization". The third part is the foundation of Xiang Mu's aesthetic thought of "neutralization" from the Confucian mean, the inheritance of Sun Guo-ting's book-theory thought and the in-depth practice of Wang Xizhi's calligraphy art, which is based on the Confucian Doctrine of the mean and the aesthetic thought of "neutralization" of Xiang Mu. Other influencing factors are four aspects to analyze the formation of Xiang Mu's aesthetic thought of "neutralization". The fourth part objectively evaluates the aesthetic significance of Xiang Mu's "neutralization" from positive and negative aspects. The article is not simply about the content of Xiang Mu's calligraphy Ya Yan, but taking the viewpoint of the calligraphers of the past dynasties as the research object, combining Xiang Mu's calligraphic background and the aesthetic style of calligraphy in the Ming Dynasty, and comparing and analyzing the special value of his calligraphic viewpoint. In order to better understand the concept of "neutralization", improve the system of calligraphy aesthetics.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J292.1
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