自康德以來，西方美學(xué)極力強(qiáng)調(diào)創(chuàng)意。相比之下，中國美學(xué)較強(qiáng)調(diào)以適應(yīng)過去模式與自然渾成之熟練或完美。這種強(qiáng)調(diào)在中文就叫‘功夫’。
華人書法可以說是一門功夫，意思是長時(shí)間在體力與精神上訓(xùn)練來完成高度完美。就此而言，與其他屬于功夫類的藝術(shù)如武功與劍舞沒有兩樣。功夫的概念包含了一個(gè)很重要的信息，那就是高水平及神似的藝術(shù)只有通過長時(shí)間的訓(xùn)練才能達(dá)到的。
華人書法的功夫是勤勉地臨摹與書寫歷史上大書法家的著名法書而達(dá)成的?？墒?，要真正精通書法這門藝術(shù)，臨摹要超越模仿。好的書家要掌握筆法、了解每個(gè)字的空間邏輯、明白通篇章法原理、與知曉各個(gè)書體變化。
無可否認(rèn)，英語中以‘復(fù)制’來指中文字‘摹’、‘臨’與‘仿’所指的過程，實(shí)在是粗俗。實(shí)際上，臨摹法書，就是以徒手臨摹來感受字體、結(jié)字、章法，這樣才能為個(gè)人領(lǐng)悟這門藝術(shù)鋪平道路。
在臨摹法書時(shí)，我們我們應(yīng)該避免盲目重復(fù)，而要找個(gè)方法來把它們據(jù)為己有。不然，堅(jiān)持以臨摹來達(dá)到完美會因太過依賴過去的模式而導(dǎo)致停滯不前。
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In western aesthetics, since Kant, there has been a strong emphasis on originality. In contrast, Chinese aesthetics places more emphasis on mastery or perfection, both through orientation on past models and natural creativity. The Chinese term for such emphasis is known as gongfu.
The Chinese calligraphy can therefore be said to be a form of gongfu, which means that it aims at high perfection through long time physical and spiritual training. In this regard, it is often compared to other Chinese arts that the category gongfu also applies, such as martial arts, sword dance, etc. The concept of gongfu also contains an important message that high and spiritual level of the art can only be achieved after long training.
In Chinese calligraphy, the gongfu is achieved through the diligent copying and writing of famous calligraphic works of great masters in history. However, copying must move beyond imitation if the art of calligraphy is to be truly mastered. Good calligraphers must master brushwork, understand the spatial logic of individual characters, understand the principles of composition, and must be aware of stylistic variations.
Admittedly, ‘copying’ is a clumsy English word for processes that are subtly different in Chinese terminology: mo, to trace, lin, to copy freehand, and fang, to imitate in a freer manner. Indeed, the process of tracing great works, copying them freehand, and imitating them in a freer manner by experimenting script, size, and overall composition paves the way for the personal appropriation of the art.
In ‘copying’ the calligraphic works, one must therefore avoid blind repetition and find a way to make them one’s own. Otherwise, the insistence on achieving perfection through copying would lead to too much orientation on past models and therefore stagnation.
