明代小楷技法研究

发布时间：2018-01-04 09:15

本文关键词：明代小楷技法研究　出处：《聊城大学》2017年硕士论文　论文类型：学位论文

【摘要】：明代楷书的发展经历了明代前期宋克小楷追古的昙花一现到馆阁体保守停滞不前,中期吴门书派以祝允明、文征明、王宠等小楷高手的“入晋从心”使明代中期的小楷在书法史上耀眼非凡,以及后期受明文化思潮浪漫主义禅宗思想影响下形成淡雅虚空的董其昌小楷、平淡简远的张瑞图小楷、简洁明快的黄道周楷书。通过对明代小楷作品的临习与明代楷书相关理论的研究探索可得明代小楷笔法、结构、章法上的继承与创新的渊源。笔法上,“虚和取韵”的楷书执笔,“虚和”并不是单单是指学书者握笔时松散的姿势,而是更深层次的学书认识,指的是习书者在执笔时的那种平顺自然的状态。而对于“虚和”楷书执笔比特点,明代每个时期都有着对“虚和”执笔的不同理解及表现方式,但归根结底都是以“虚和取韵”的执笔方法,作为主要的学习楷书甚至其他书体的执笔依据基础。结构上,通过分析台阁体时期的沈度小楷、吴门时期的文征明、王宠小楷可以直观的发现明代楷书的“疏”与“简”小楷持续发展的结构特点,无论是明代前期台阁体小楷的俗媚还是明代中期吴门小楷的空灵淡雅都离不开小字楷书的“疏”与“简”结构特点。章法上,前期的台阁体章法所变现出来的“疏”是相对均匀的,意为字与字行与行的相间距离与留白是相对均匀的疏散;而中期的吴门书派代表人物所变现出来的小楷章法较于前期有着诸多变化,祝允明、文征明等书家在章法同前期台阁体小楷章法有着些许相似之处,但在相对均匀的疏散的基础上更加倾向于晋风样式虚空疏散。除笔法、结构、章法以外的明代小楷不得不提的还有不断延续创新的取法观如明代小楷“由唐入晋”取法观念,而明后期书法大家董其昌就是由唐入晋学习魏晋锺繇、二王小楷的经典代表人物。观明代小楷的发展有台阁体的停滞不前也有吴门、华亭小楷的高光时刻,但明代各时期小楷的发展变化为我们当代学习书法提供了诸多宝贵经验。
[Abstract]:The development of the regular script in the Ming Dynasty experienced the short-lived movement of Song Kexiao Kai in the early Ming Dynasty to the conservatism of the pavilion style. In the middle of the period the Wu Men School of calligraphy made Zhu Yunming and Wenzheng Ming. Wang Cong and so on small block master's "enters the Jin from the heart" causes the middle Ming Dynasty small block to dazzle in the calligraphy history dazzling, as well as the late period by the Ming culture ideological trend of thought romantic Zen thought under the formation elegant and empty Dong Qichang Xiaokai. Through the study of the relevant theories of the literary works of the Ming Dynasty and the Ming Dynasty, we can get the style and structure of the small block letters of the Ming Dynasty. The origin of inheritance and innovation in the method of composition. In the method of writing, "empty and rhyme" is written in regular script, and "virtual harmony" is not only the looser posture when the learner holds the pen, but the deeper understanding of the learning book. It refers to the smooth and natural state of the calligrapher when he writes. For the characteristics of "empty and" character of writing in regular script, there are different understandings and expressions of "virtual harmony" in each period of Ming Dynasty. But in the final analysis, it is based on the writing method of "empty and rhyme", which is the basis for the main study of regular script and even other writing styles. Structurally, through the analysis of Shen du Xiaokai during the period of Tai-ge style. In the Wenzheng and Ming dynasties of Wu Men, Wang Cong Xiaokai could directly find the structural characteristics of the "sparse" and "simple" block letters of the Ming Dynasty. No matter the vulgar charm of Taige Xiaokai in the early Ming Dynasty or the emptiness and elegance of Wu Men Xiaokai in the middle of Ming Dynasty, it is inseparable from the structural characteristics of "sparse" and "simple" in small character script. In the early stage, the "sparse" is relatively uniform, meaning the distance between the words and the lines and the white space is relatively uniform evacuation; In the middle period, the representative figures of Wu Men School had many changes compared with the earlier period, such as Zhu Yunming, Wenzheng Ming and other calligraphers had some similarities with the early stage of the style of the small block. But on the basis of relatively uniform evacuation, it is more inclined to the Jin style of virtual evacuation. Besides the Zhang method, Xiao Kai of Ming Dynasty had to bring up the idea of continuously continuing and innovating the concept of "from Tang to Jin", and in the late Ming Dynasty, Dong Qichang learned from Tang into Jin to learn from Wei and Jin Zhongyou. The development of Xiao Kai in the Ming Dynasty included the stagnation of Taiwan Pavilion and Wu Men, and the bright moment of Hua Ting. However, the development and change of Xiaokai in various periods of Ming Dynasty provided us with valuable experience in learning calligraphy.
【学位授予单位】：聊城大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J292.1

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