《庆祝五台山申遗成功——中国千名书家写经书法大展作品集》首发座谈会在全国政协礼堂举行

本刊讯3月26日,《庆祝五台山申遗成功——中国千名书家写经书法大展作品集》首发座谈会在全国政协礼堂举行。活动开幕前,全国政协原副主席赵南起来到活动现场,饶有兴趣地观看了     

中国佛教写经与日本书道

佛教传入中国,大量佛教经典的汉译也同时开始。汉文佛教写经成为普遍现象。随着佛教的东传,汉文佛教写经也流入日本,于是日本便开始了写经活动,魏晋南北朝时期的汉文佛教写经实际上启蒙了日本书道艺术。隋唐时期中日两国学者、僧人的频繁渡海,传法求学与佛教书法及碑帖名迹的大量东渡,缔造了以“三笔”为代表的第一代日本书法家,标志着日本书道艺术的真正确立。     

“神理”与“实际”——翁方纲书法研究

翁方纲是中国清乾嘉时期典型的学者型书家,其书名在当时并不十分显赫,且在其殁后遭到了较多的批评和否定。但是一名书家的书法水平,不能因其一点而做出定论。文章试从翁方纲的金石考据和题跋等方面入手,着重阐释翁氏临摹重"实际",创作重"神理"的实践观点,较全面地探究翁氏书学思想中的"形神观"。     

画禅似识西来意 书法如参空外音 佛教与书法北大核心CSSCI

佛教的写经、刻石、摩崖等原本出于纯粹的宗教目的,却在无意中发展和保存了中国的书法形态,无法想象,如果中国书法史缺少了这些杰作,会黯淡几分。陈寅恪曾经说过：＂艺术之发展多受宗教之影响,而宗教之传播,亦多倚艺术为资用。＂     

杨羲写经考——兼论东晋士族与道教写经

东晋道士杨羲写经,以《大洞真经三十九章》为首要经典的上清经三十一卷最为重要,在道藏三洞四辅经书体系中,是洞真部的祖本道经。杨羲以墨书细字的郗体隶书和荆州白笺,开创了上清经写经的基本风格。杨羲写经的身份是早期上清派专门从事经书造写的经师,后被尊奉为上清派第二代玄师。杨羲写经得到了丹阳许氏士族的支持。许氏士族是天师道奉道世家,直接参与甚至主导了早期上清经的造写和传抄。由许氏士族而展开考察,可以看出,在东晋士族中,擅长书法的奉道世家如丹阳许氏、高平郗氏、琅琊王氏、丹阳葛氏士族中都有代表人物从事早期道教经典上清经、灵宝经、太清经等的造写或抄写。东晋时期,士族写经奉道较为普遍,这是杨羲写经的社会文化背景。     

画禅似识西来意 书法如参空外音 佛教与书法

正佛教的写经、刻石、摩崖等原本出于纯粹的宗教目的,却在无意中发展和保存了中国的书法形态,无法想象,如果中国书法史缺少了这些杰作,会黯淡几分。陈寅恪曾经说过:"艺术之发展多受宗教之影响,而宗教之传播,亦多倚艺术为资用。"佛教自从东汉明帝时传入东土,从此便与中国本土的书法艺术建立了密不可分的关     

中国古代道教写经

道教写经是中国古代写经的主要组成部分之一,肇始于先秦简帛,兴起于六朝符书,集藏于唐初写卷,自成"三洞四辅"经藏体系。道教教内写经在写本制作、写经功用等方面,具有独特的道教文化、仙道文化内涵;作为普通书籍制作的道教写经,则与中国古籍写本的一般发展规律和社会文化功能相符合。     

钟明善书画选

钟明善,1939年生于陕西咸阳,当代著名书画篆刻家、书法理论家、书法教育家,西安交通大学教授、博士生导师。曾任中国书法     

至道与至美:魏晋“清玄”书风与道教美学实践

"清玄"是魏晋书坛中以葛洪、杨羲、王羲之、王献之等一批道徒书家为代表人物所引领的一种书法风格。此时的道教向上层化发展,帝王、士族多有道教信仰或崇道倾向,因此,魏晋时期的道徒书家在书坛中形成了一个有别于一般书家创作风格的群体。对这类书家的研究必须要注意到道教信仰对其书法风格的影响。他们书法中所呈现出的崇尚自然、超然仙趣、注重人格修养、主张存思之气的运用和"恬淡无欲"的"清玄"书风,实则是对"至道-至美"的道教美学在书法中的具体实践。这种"清玄"风格在自然美的追求、书法品鉴的标准、书法创作的心态,以及道教写经书法的传承等方面都对后世书法产生了积极影响。     

各地道观

<正>南京方山洞玄观举行大殿开工典礼2014年12月27日,南京市方山洞玄观举行大殿开工典礼。根据规划,建成后的方山洞玄观将划分为三大功能区,其中神仙朝拜区为子午线两侧对称的仿古宫殿建筑群。镇江润州道院举行2015年迎新春茶话会1月11日,镇江润州道院举行2015年迎新春茶话会,来自全国各地100多位信众参加。上海城隍庙举办写经活动1月20日,上海城隍庙举办首次写经活动暨"齐同慈爱——国学·写经班"开班仪     

The Perks of Being Relational: Reviewing The Perks of Being a Wallflower

This article reviews The Perks of Being a Wallflower (Halfon, Smith, Malkovich, & Chbosky, 2012), a coming-of-age film about 3 high school students attempting to survive school, find themselves, and connect with others. The authors provide a synopsis of various portions of the film and identify important aspects of relational-cultural theory (RCT) within its plot, such as growth-fostering relationships, controlling images, and relational images. Various characters’ plotlines are discussed in relation to what RCT identifies as paramount tenets of human development and mental health. The authors also briefly discuss other counseling issues touched on within the film (i.e., affectional identity, sexual assault, and relational violence).     

The Creative Mode of Being

Because of misperceptions about the nature of creativity, many creative children are misunderstood in and out of their classrooms. Based on a close association with creative adults and childrenn, the authors postulate that creativity is a state of being that is challenged by the socialization process in Western civilization. The authors envisage two differing states of being namely, an essential and a conventional. These states represent end points on a continuum. Creative adults speak of their struggle to try and regain something of their original state of being. Understanding creative children who are closer to the essential state is important for their emotional well-being and the nurturing of their creativity.     

The Virtue of Being Supportive

I develop an account of the nature and value of being supportive in interpersonal relationships. In particular, I argue that the virtue of being supportive, construed as a modally demanding value, facilitates the autonomy of one's intimate and promotes a sense of unity in one's relationship. Moreover, the practice of being supportive plays an important role with regard to the familiar need to reconcile the normative demands of one's own projects with one's responsibilities to intimates.     

The Bearable Lightness of Being

How are philosophical questions about what kinds of things there are to be understood and how are they to be answered? This paper defends broadly Fregean answers to these questions. Ontological categories—such as object, property, and relation—are explained in terms of a prior logical categorization of expressions, as singular terms, predicates of varying degree and level, etc. Questions about what kinds of object, property, etc., there are are, on this approach, reduce to questions about truth and logical form: for example, the question whether there are numbers is the question whether there are true atomic statements in which expressions function as singular terms which, if they have reference at all, stand for numbers, and the question whether there are properties of a given type is a question about whether there are meaningful predicates of an appropriate degree and level. This approach is defended against the objection that it must be wrong because makes what there depend on us or our language. Some problems confronting the Fregean approach—including Frege’s notorious paradox of the concept horse—are addressed. It is argued that the approach results in a modest and sober deflationary understanding of ontological commitments.