英文摘要
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In Dùn Yín Shu Yào, Féng Ban regards the calligraphy style of Jìn Dynasty as the supreme ideal, suggesting that fǎ(法) of Táng Dynasty's is inferior to lǐ(理)of Jìn Dynasty, and yì (意) of Sòng Dynasty inferior to fǎ (法). Nevertheless, in Féng Ban's discourse, lǐ(理) includes both fǎ(法)and yì(意). Between fǎ (法) and yì(意), Féng Ban obviously stresses more on the importance of fǎ(法). fǎ (法) of Táng Dynasty is different from fǎ (法) of Jìn Dynasty. Furthermore, there are discrepancies in degree and tendency in the fusion of yì (意) and fǎ (法); namely, is "fǎ(法) inclusive of yì (意)" or "yì (意) inclusive of fǎ (法)"? He even proposes "yì(意) isfǎ (法)." How to interpret it? In addition, he proposes "Aptitude leads intention," which is the opposite of "Intention leads aptitude," the more accepted opinion. How, then, do we interpret this? This essay first deals with the dialectics of yì (意) andfǎ (法) in Féng Ban's calligraphy theory, then moves on to analyze Féng Ban's discourse on aptitude and intention, and at the end brings to a conclusion.
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