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中国书法对世界哲学美学艺术学的意义

来源:米兔传媒网  http://www.hqwhw.com     编辑:Emily 2020/7/15

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美的本质是什么?艺术的审美标准是什么?哲学的研究对象是什么?这是世界文化的核心问题。

上述三个问题是当代美学、艺术学、哲学未弄清楚的问题,也是世界美术史、艺术史、哲学史上都未曾弄清楚的问题,这是个大学问,今天,在东方,在中国,荆楚大地上书法悟道人鲁振汉先生弄懂了,并向世界发声——文化在中国,艺术在中国,哲学在中国,精神在中国。

美的本质是生命运动,艺术的审美标准是生命运动,哲学的研究对象是生命运动,生命运动是宇宙的全部,生命运动是物质和精神的二元统一。

What is the essence of editor's beauty? What is the aesthetic standard of art? What is the object of philosophy? This is the core issue of world culture.

The above three problems are not clearly understood in contemporary aesthetics, art and philosophy, but also in the history of art, art and philosophy in the world. This is a great learning. Today, in the East, in China, and in the land of Jingchu, Mr. Lu Zhenhan, a calligrapher and Taoist, understands them and speaks to the world: Culture in China, art in China, philosophy in China, and essence God is in China.

The essence of beauty is the movement of life. The aesthetic standard of art is the movement of life. The object of philosophy is the movement of life. The movement of life is the whole of the universe. The movement of life is the unity of matter and spirit.

 

中国书法对世界哲学美学艺术学的意义

--大泽人   鲁振汉

  中国文化发端于鬼画符,中国易经发端于鬼画符。中国哲学发端于鬼画符。中国的道学、中国的艺术均发端于鬼画符。鬼画符实为占卜术。我们的远古祖先在物质文明尚不发达的古代,为了抗拒自然力量,借助于神灵的佑护举行的一种祭祀活动。祈求上天降福。鬼画符便产生了。这便是一般凡人看不懂的上天的显灵符号。这些符号由祭祀的巫师在昏昏然无意识的状态下,用朱丹在物器上胡乱涂抹留下的痕迹。据说它传达着上天的旨意和昭示。当然除了巫师的鬼画符以外,还要将这些祭祀活动记录下来,刻在易于保存的甲骨之上。当然这种刻画是不能称之为鬼画符的,而鬼画符什么时候引申为对那些胡涂乱抹的书写者的贬称,却无从考查。记得有一句俗称“写字不规格,神仙认不得”同是这般意义。

这就是说人类文明的起源就是从这些上古时期的占卜活动开始。又可以说中国的书法艺术的起源也是从这里开始,从鬼画符到象形文字到甲骨、金文及篆、隶、楷、行、草以及书法从实用到艺术。中国文字自古都是神明的代言者。文化成了我们先民的唯一精神寄托。河图洛书的出现又无一不是上天的昭示。当然这是除去了我们先民在创造有记载文明之前漫长的进化过程,正如马克思所说“劳动创造了人本身”。他们要生存,要从事实践活动和劳动创造,要均匀分配劳动果实、劳动使用工具,劳动语言交流。画画以记事、结绳、堆石以计数,更是人类从猿到人自始至终一个漫长的发展过程。

河图洛书的出现,说明当时的华夏文明已进入高智能阶段,先民对点线的认识已不是一般意义的认识。他们早已摸索出了自然界点、线、面、体的联系及时空的变化规律。中国古老的变易学开始诞生。中国哲学开始诞生。夏有《连山》商有《归藏》,周有《周易》,无一不是对世间万事万物变化规律的论述。这些规律的研究在春秋战国时期便达到登峰造极的地步。这就是老子、庄子、孔子关于“道”的学说。老子的出世哲学“无为”、庄子的艺术哲学“天地有大美而不言”、孔子的入世哲学“天地人合一”等等都揭示了“爱”是世界的本质,揭示了宇宙精神的永恒。在这一时期印度释迦牟尼的佛教出现了,实质上中国老子、庄子、孔子关于“道”的学说。后来发展成为道教、儒教。同释迦牟尼的佛教其精神实质是一致的。我曾写过一幅作品“道佛同心”,其意义正在这里。释迦牟尼的“八圣道”讲的就是悟道的过程和境界,同样揭示了爱是世界的本质、宇宙精神的永恒。中国道学更注重讲“道”是什么,印度的释迦牟尼注重的是“如何悟道”,而让我不能理解的是为何东晋又有法显及唐代玄奘西行取经的事。这是不是“外来的和尚好念经”之说的由来。这是不是中国从外从洋悠久历史的起点。我这里没有对法显和玄奘为东方文化做出的伟大奉献和壮举持否定态度。一是说中国人往往是自己看不起自己,缺少自信;二是说中国压抑人才由来已久。据说玄奘西行是没有得到皇帝批示就自行启程了。这当然是让人遗憾的事。这又让我想起了秦始皇的“焚书坑儒”。秦始皇统一中国,功在千秋,然而“焚书坑儒”算不算错误。今天看来是一定的。就是我们今天看待其他伟人那样,都是人,都超不出人所局限的一面。“焚书坑儒仅仅是对儒家学说而言吗?我想老子、庄子的学说不应在其列。儒家的入世哲学都否定了,老子庄子的出世无为的哲学,我想便是容不得的,全都烧了吧,这又是不是二位长老西行的又一原因。

The significance of Chinese calligraphy to world philosophy, aesthetics and art

--Lu Zhenhan from daze

 

Chinese culture originated from the ghost pictograph, and the Chinese Yi Jing originated from the ghost pictograph. Chinese philosophy originated from ghost symbols. Both Chinese Daoism and Chinese art originated from ghost symbols. Ghost drawing is actually divination. Our ancient ancestors in the material civilization is not yet developed in ancient times, in order to resist the natural forces, with the help of the gods held a kind of sacrificial activities. Pray for heaven's blessing. The ghost glyph came into being. This is the symbol of heaven that ordinary people can't understand. These symbols are the marks left by the sacrificial wizard daubing the objects with Zhu Dan in a dazed and unconscious state. It is said that it conveys the will and declaration of heaven. Of course, in addition to the wizard's ghost symbols, these sacrificial activities should be recorded and engraved on the oracle bones which are easy to preserve. Of course, this kind of depiction can not be called ghost pictograph, but when it was extended to be a derogatory term for those scribbled writers, it is impossible to examine. I remember that there is a common saying "writing is not standard, immortals can not recognize" with this meaning.

 

That is to say, the origin of human civilization started from these divination activities in ancient times. It can also be said that the origin of Chinese calligraphy art also starts from here, from ghost symbols to pictographs, to oracle bone inscriptions, gold inscriptions and seal characters, Li, Kai, Xing, Cao, and calligraphy, from practicality to art. Chinese characters have always been the spokesmen of gods since ancient times. Culture has become the only spiritual sustenance of our ancestors. The appearance of Hetu Luoshu is a sign from heaven. Of course, this is to remove the long evolutionary process of our ancestors before the creation of recorded civilization. As Marx said, "labor created man itself.". They want to survive, to engage in practical activities and labor creation, to evenly distribute the fruits of labor, labor tools, labor language exchange. Drawing to remember events, tying ropes, piling stones to count, is a long process from ape to man.

 

The appearance of Hetu Luoshu shows that the Chinese civilization at that time has entered the stage of high intelligence, and the ancestors' understanding of point and line is not the general understanding. They have already found out the connection of point, line, surface and body in nature and the change law of time and space. The ancient Chinese theory of change began to be born. Chinese philosophy began to emerge. Xia has Lianshan, Shang has Guizang, Zhou has Zhouyi, all of which are expositions on the changing law of everything in the world. The study of these laws reached its peak in the spring and Autumn period and the Warring States period. This is Laozi, Zhuangzi, Confucius on the "Tao" theory. Lao Tzu's philosophy of "Inaction", Zhuangzi's philosophy of art "heaven and earth have great beauty but don't speak", Confucius's philosophy of "heaven, earth and man's unity" reveal that "love" is the essence of the world and the eternal spirit of the universe. In this period, the Buddhism of Sakyamuni appeared in India. In essence, the doctrine of "Tao" was proposed by Laozi, Zhuangzi and Confucius in China. Later it developed into Taoism and Confucianism. The essence of the spirit is consistent with Sakyamuni's Buddhism. I once wrote a piece of work "Tao and Buddha are concentric", which is the meaning here. Sakyamuni's "eight saints" is about the process and realm of enlightenment. It also reveals that love is the essence of the world and the eternal spirit of the universe. Chinese Daoism pays more attention to what "Tao" is, while Sakyamuni of India focuses on "how to understand Taoism". What I can't understand is why there was FA Xian in the Eastern Jin Dynasty and Xuanzang in the Tang Dynasty who traveled westward to get scriptures. Is this the origin of the saying that "foreign monks like to chant sutras". Is this the starting point of China's long history from abroad. I do not hold a negative attitude towards the great contributions and feats made by FA Xian and Xuanzang for the oriental culture. One is that Chinese people often look down on themselves and lack self-confidence; the other is that China has long suppressed talents. It is said that Xuanzang set out on his own without the emperor's instructions. This is, of course, a pity. This reminds me of Qin Shihuang's "burning books and burying Confucianism". Qin Shihuang made great contribution to the unification of China, but "burning books and burying Confucianism" is not a mistake. It seems certain today. It is just like we look at other great men today. They are all human beings, and they are not beyond the limitations of human beings. "Is burning books and burying Confucianism just for Confucianism? I don't think the theories of Laozi and Zhuangzi should not be among them. The Confucian philosophy of entering the world has denied it. I think the philosophy of Laozi Zhuangzi's inaction can't be tolerated. Let's burn them all. Is this another reason why the two elders went to the west.

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