书法“势”论

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1、”reduction”istheaestheticmechanismcalligraphy,thatisthewayofcalligraphy”shi”togenerateandimplementation．Therestoreprocessstartsbasedonthe”threeflu”，whichincludes”texture”，”senseofspatialform”，”timesenseofform．"Calligraphiclinesandformsareconsideredthesourceforallthings，calligrap

2、hylinesandform”threeflu”isalsoasourceforpeople’Sperceptionofallthings，thetwoarethesame，andhavefocusedonthereductionofdestination．"shi”reduction，therearetwocross·cutting，mergingroads，onenaturalreduction，thesecondistorestorethelanguage，culturecallalsobeexpressedasthereductionandex

3、tendedrestored．Theformerisa”natural”situationonthelatterreferstothe”shi”inthelanguagebeingpoetic．LanguageCalligraphyactivityreductionismoreimplicitmechanismthatrunsthroughallaspectsofthenaturalreduction．Boththereductionreflectsthe’’shi”aestheticcharacterincalligraphy,meyare”mobi

4、lity”，”blend”of”independence．”Theaestheticsofcalligraphyreston．Thecalligraphy‘‘shi’’mainlycarriesTaoistcultureandConfucianculture．Theprocedurethat“shi”translateintokindsofCalligraphyAestheticscategoriesisalsotheprocedurethatcombinesclassicculturalspiritwith“shi”．Becauseodthis，th

5、e“Taoistshi’’and“Confucianshi’’formsincalligraphy．The‘‘Taoistshi’’contains‘‘nature，，and‘'travel"．whilethe‘‘Confucianshi’’contains‘'peace’’and“abundant'’．The‘‘shi’’thesenationalspiritisthemostvaluablethingsthroughout，andisthesoulaSwhichcalligraphyplaysinChineseclassicart．Keywords

6、：Calligraphy,Shi，Condition,Line，Modality目录摘要⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．1ABSTRACT．．．．．．．．．．．．．．．．．．．．．⋯．．．⋯⋯⋯．．．．．．．．．．．．，．，⋯．．．．．．．．．．，．，．．．．．．．．．．．．，．．⋯⋯⋯⋯．．⋯⋯⋯⋯⋯⋯⋯．．．⋯．，，III录⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯V绪论⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯，，l一、“势”作为书法研究的

7、对象⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．2(一)书法的“势”的研究现状⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯一2(二)本文在书法之“势”研究上的创新之处⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．4(三)“势”以书法的美与美感本身作为研究对象⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯一5二、研究方法⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．6三、研究意义⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯，7(一)审美意义⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯一7(--)教学意义⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．

8、．7(三)人生意义⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯一8第一章“势”的概念简