當代書法藝術發(fā)展中的幾個問題（Some problems in the development of contemporary calligraphic art）

1、當代書法藝術發(fā)展中的幾個問題（Some problems in the development of contemporary calligraphic art）Some problems in the development of contemporary calligraphic arteditors note: today, we publish the articles of Shao Bingren, vice chairman and calligrapher of Chinese Calligraphers Association, on several issues in th

2、e development of contemporary calligraphic art. The article is insightful, though it is written in calligraphy, but it is enlightening to all fields of culture and art. The article points out: calligraphy is not only the technology, art, is Tao, the painting, the construction is Chinese spiritual ho

3、me. Therefore, the development of contemporary calligraphic art must deal with the three relations between the mainstream of the times, book wind and artistic diversity, social function and individual pursuit, moral cultivation and artistic practice. Literature and art serving the people and serving

4、 the socialist should be the only way to develop the art of calligraphy. In pursuit of the development of individual art, calligraphers should pay more attention to the social function of art and make calligraphy play an important role in building a harmonious society. The essence of the art of call

5、igraphy as China tradition, has a long history, profound meaning, on behalf of many people. In the contemporary culture, for the development of the material base, the social environment, propagation conditions have undergone profound changes, and provide a broader space for the development of the ar

6、t of calligraphy, but also facing new problems and new situations. The main problems in the process of the development of the art of Calligraphy: calligraphy due to the weakening of utility function, basic calligraphy gradually shrinking; by the impact of western culture, traditional art spirit is i

7、ndifferent, inheritance is insufficient; for driving utilitarian thought, basic writing and testimonies from Chinese characters, impetuous creation of popular culture. Now, how to adhere to the fine tradition and create the art of calligraphy with the spirit of the times becomes the theme of calligr

8、aphy development. From the prosperity of traditional art, carry forward the spirit of the times and the protection of national culture, enhance the competitiveness of Chinese culture, to ensure national cultural security level, need to seriously consider all kinds of problems summed up the contempor

9、ary art of calligraphy in the process of development, promote the healthy and stable development of calligraphy China.The development of contemporary calligraphy must deal with the following relationships:First, the mainstream of the times and artistic diversityChinese calligraphy art in the history

10、 of the development process, genres, flowers blooming like a piece of brocade. But in any historical period, there are distinctive mainstream books of the times. A careful study of the book wind in different periods of Chinese calligraphy and its social and historical roots can serve as a reference

11、to the development of Chinese calligraphy at present. History has proved that the main works of different periods, common characteristic is on the basis of inheritance and innovation, follow the law of development of art, with profound artistic skill, distinctive spirit of the times; in the artistic

12、 style, they generally have Chia meteorology, natural and simple, just healthy and fresh; in the form of performance, tastes, popular to understand, can accept the approved by the public. Only this kind of work is the real outstanding work, can represent the style of an era.The development of contem

13、porary art of calligraphy, both calligraphy works of art to keep pace with the times, meet the aesthetic view of the masses of the people, the rich quality of artistic creation, emotion display and promote mainstream aesthetic ideals and values, also called the art of calligraphy calligraphy career

14、can be diversified, coordinated development.The mainstream of the times, wind and diversity complement each other, and become a unified and harmonious whole. Two fresh and vigorous, Yan Zhenqing Tanghuangzhengda is the representative of the traditional, the Eight Wonders of Yangzhou, Xu Wei Zhang Ru

15、itu, is on the basis of traditional exploration. But their influence and position in art history is different. The latter also has high artistic achievements, but the influence of the former is more universal. Each time the mainstream works also have, such as the Warring States of the bird pest seal

16、, the Tang Dynasty official script, rich and magnificent Song Huizong thin gold book, the Ming and Qing Dynasties Taiwan Pavilion and guangeti. These works are the product of a particular era and cultural environment, and have their historical origins and air and soil, but they are not the mainstrea

17、m of the times. They can only be a useful supplement,Some because of the lack of artistic appeal, some do not conform to the basic law of the art development, some mere art, some being rigid, although very popular, eventually eliminated by history. Learn and inherit calligraphy, tracing the circulat

18、ion, can grasp the rules and correct Book wind; inherited partial branches, the positive pulse, nothing to fall back on, difficult chengdaqi.All flowers bloom together. times reflects the mainstream, contention of a hundred schools of thought, books and art diversity unified wind: adhering to the ma

19、instream at the same time, the free development of art and encourage different style, different views of free discussion, mutual respect, complementarity, unity and harmony and common progress. Nowadays, especially after the reform and opening to the outside world, calligraphy has flourished rapidly

20、. With the diversity of cultural needs, the style of art has been diversified. One part is in conscientiously follow the traditional way, one part is on the basis of the traditional concept, combined with the latest development of the arts, to the ancient open new; part of it is to get out of the tr

21、aditional mode of development, another way. Each of these artistic explorations has its advantages and disadvantages.That tradition, is right, but if blindly follow, from the essence to form no new achievements, the inheritance will be greatly reduced. In the face of broad and profound traditional c

22、alligraphy, it is difficult to really go deep into it. It can be more difficult to create on a traditional basis. Those in succession on the road hard, stupid people put a lot of effort, have little effect, but they can endure loneliness, awe inspiring.We should pay equal attention to inheritance an

23、d innovation, and explore on the basis of the two schools of tablets and tablets. Especially from the archaeological discovery of new materials calligraphy provided, such as tile brick Qin, Wei and Jin Dynasties, silk bamboo slips of paper and residual epitaph statues of Dunhuang manuscripts, into t

24、he contemporary innovative practices and ideas, is mainly based on the physical innovation of pang. In fact, this is a continuation of the calligraphy and calligraphy in Qing Dynasty, but it is more extensive in content and form. This group has emerged many keen calligraphers, the problem is, as par

25、t of traditional calligraphy and calligraphers of inheritance is not enough, lack the necessary cultural support, and less morals; intrinsic, form. Inheritance in todays cultural environment is not easy, innovation depends on whether there is a breakthrough in nature, only in the form of face and di

26、stance from the ancients is still far from enough.To break the old pattern of traditional calligraphy, western art, although the spirit of exploration can not easily deny, but if in the works from Chinese characters, break the layout of space China calligraphy, abandon the traditional inherent testi

27、monies, is deviated from the essence of calligraphy, misleading the public viewing, its impact on the traditional calligraphy can not be underestimate.The development of contemporary calligraphy can not be separated from correct literary criticism. In principle, from the direction of the development

28、 of calligraphy, as long as it is based on the Chinese characters, based on the noumenon of calligraphy, regardless of what is the direction of exploration, that is, should be encouraged, for sure, there is no problem of right and wrong. It is very important to objectively treat and understand the g

29、ains and losses of different exploration directions. As a result, it will lead to blind follow the trend and sacrifice a large number of young people with artistic talent. The lack of inclusive style of study, will cause the calligraphy internal attack, repeatedly made criticism.The current art crit

30、icism is a flatter, irresponsible hype; one is the lack of tolerance, lashing Crusade, abuse. There are not too many academic discussions of genuine, well intentioned, equal academic work. Compared with the literary criticism already carried out in literary circles, the contending schools of thought

31、 of calligraphers have not yet been fully developed. Art criticism is lagging behind, a direct impact on the healthy development of the art of calligraphy, tout irresponsible destroyed the art atmosphere, pollution of art lovers eyes; self-centered attack is a serious damage to the Crusade, harmonio

32、us calligraphy. As for some calligraphers does not work hard in business, designed by hype earned fame, gossip and film and television industry manufacturing because of the increase in popularity, there is no fundamental difference on rate increase.Review the reality and sum up the gains and losses,

33、Indeed, there is still a long way to go and a long way to go before we can develop the mainstream style of the times and adhere to the diversity of artistic styles.Two, social function and personal pursuitAs a category of art, the art of calligraphy belongs to the superstructure and has social funct

34、ions. In reflecting, paying attention to practical problems and expressing the spirit of the times, calligraphy is not as direct as literature, drama, film and television, or even art. Chinese literature, advocated statecraft, beauty and ambition, Chinese literature start; strong focus on peoples mo

35、ral self-cultivation, with respect, advocate Chongshan righteousness, sincerity, moderation, contribution, One principle runs through it all. Although calligraphy does not have a direct link with the practical function, but in the history of calligraphy works, and moral ideal, Chinese ancient philos

36、ophical implication of calligraphy, with its implicit and profound artistic form, carrying the scholars with respect to political ideals and aesthetic feelings of humanism, imperceptibly affect public ideal moral and sentiment. Literature and art serving the people and serving the socialist determin

37、es the nature and direction of literature and art in China. It is the basic principle that must be adhered to in the development and prosperity of Chinese literature and art, and also the only way to develop the art of calligraphy. Calligraphy is the calligraphy art main body follow two directions,

38、in the pursuit of personal artistic development, should pay more attention to the social function of art, calligraphy in the process of building a harmonious society, play an important role in the foundation.They have under the condition of market economy, ignoring the calligraphy as the social func

39、tion of art, lost self, keen to form first, ideal new in order to be different, do not decline, efforts from the work of the ideological content and artistic expression, but by retrofit, making visual stimulation, the artistic creation from the aesthetic needs of the public, solid paltrily.In todays

40、 cultural life, there is a very contradictory phenomenon, on the one hand, the unprecedented prosperity of calligraphy art, on the one hand, is a lack of masters and classics. The history of art, classical masters and not invented, not self, not a small circle holding out, the key to see whether the

41、 artist consciously artistic creation and their own popular aesthetic needs of integration, all masters, must be recognized by the public, all the classic must verify the unconditional acceptance of social practice. Those works with lasting artistic charm reflect the aesthetic taste of the general p

42、ublic, and all of them derive from their life and creation.A calligrapher can really embody his value only by integrating his artistic pursuit into the service of the society and the people. Therefore, we should strengthen our artistic accomplishment and improve the artistic expression ability to ke

43、ep pace with the development of the times. Some calligraphers, leave no stone unturned, behind closed doors, since that is the creation of the play, but works out, and can not produce the desired effect, people cannot read, it must cause cold and refuse. Some people always complain that the eyes of

44、the masses is too low, in fact, with the development of society and the improvement of material and cultural life, the aesthetic standard of mass increasing, the higher the quality requirements of art is amazing level of mass and improve art appreciation. 20 years ago, Liu Yan to write like, will be

45、 able to participate in the exhibition, a style works, only from the formal written strong forceful, can win the applause, not today. Popular literature and art is the most authoritative judgment and appreciation, if limited exchanges in the calligraphy art circles can resonate with the public, not

46、from classic, the accumulation of material, rich artistic heritage, refused to learn from the masses, feel the breath of life and the aesthetic taste of them, but hiding in the Ivory tower in the self satisfied, it is not possible to personal artistic creation and the development of the times, to cr

47、eate a rich spirit of calligraphy works.In the process of economic globalization, the Chinese traditional culture is facing tremendous impact and weakening. Cultural competition, as in economic competition, stresses the strength of the contest. The competition of global culture can not be expected t

48、o be protected, but should be promoted by its own competitive power. For thousands of years, the Chinese nation has a high degree of unity, the Chinese version of the figure is complete, rely on the unique traditional Chinese culture, which is an important factor in the unity of the text.Therefore,

49、in the face of Western cultural infiltration, cannot improperly belittle oneself, not repeating past mistakes. In the past, we have made some deviations from traditional culture. For example, criticism is more than inheritance, and negation is more than affirmation, which leads to ignorance of natio

50、nal culture and self-esteem and self-confidence. Calligraphy is Chinese popular art, built on the basis of the art of writing Chinese characters should be extensive maximum, but today Chinese, how many children are learning Chinese traditional culture including calligraphy?In the long history, the a

51、ncient Chinese civilization and morality into Chinese characters in calligraphy writing, the language, the grand universe Avenue, small personal philosophy, as the vivid images of writing, calligraphy and China literati inner spirit of life into a body of flesh and blood. Calligraphy is not only tec

52、hnique, art, is Tao, the painting, the construction is Chinese spiritual home. We always feel the emptiness of the Chinese people and the western culture, but we seldom reflect on our attitude towards the traditional national culture. The artist should not only satisfy the pleasure of personal spiri

53、t and the enrichment of economic interests, but also think of serving the society for the masses, and fill the spiritual life of the Chinese people with the most affinity calligraphy art.The rejuvenation of the Chinese nation is not only the rise of the economy, but also the support of the culture.

54、In the face of Westernization, cultural security has become an important part of national security. Calligraphy is a part of Chinese traditional culture. It is the duty of calligraphers to make traditional art part of the spiritual life of the Chinese people and to make their own efforts for the ind

55、ependence of national culture and the cultural security of the country.Three, moral cultivation and artistic practiceArtistic worker is a special worker who creates spiritual products. His own moral accomplishment, ideological consciousness, spiritual realm, knowledge accumulation and artistic skill

56、 directly determine the quality and artistic conception of the work.The body of the Denaili. Chinese traditional intellectuals (including artists) generally care about politics, pay attention to culture, full of historical experience, moral consciousness and self-cultivation. The Confucian doctrine

57、of self-cultivation is a comprehensive moral cultivation of a person centered on morality, including cultural knowledge, literature and art. Repair from Judah, raising and conservation influence, the ancient literati introspection, self-cultivation as the basic way to sharpen and cultivate humanity.

58、 Confucius also combines moral cultivation with politics, emphasizing the self respecting and respecting, and believes that only by cultivating noble character can people be stabilized. University and golden mean is the heart, sincerity, self-cultivation mentioned the governing the country and level

59、ing the world height, emphasizing the self-cultivation as the foundation. Ancient calligraphers by this thinking, put forward the heart regular pen, the book as claims. In the traditional calligraphy art criticism, moral cultivation is placed in the most important position, Cai Jing, Zhao Meng, Zhang Ruitu and Wang Duo?, or because of treachery, or because of loss of integrity, his contempt, to refuse, only to the