晚清书法审美范畴的对立与共生

发布时间：2018-01-25 21:14

本文关键词： 审美范畴书法学习审美观念康有为碑帖共生碑学传统帖学审美效果包世臣　出处：《文艺研究》2012年03期 　论文类型：期刊论文

【摘要】：晚清碑、帖之争往往被书法史研究者描述成帖消碑长的过程。隐藏于其后的审美观念的差异是论争得以进行的原因,而有着审美趋同的时代局限又是两派有着相通之处的重要基础。晚清碑帖审美范畴的对立共生可以反证晚清碑帖之争的矛盾统一。从书法技法衍生的审美范畴的偏好所表现出来的观念区别,既代表着碑帖两派书法家基于笔法、结体等技法维度的不同追求,又折射出其审美在社会、思想、文化根源上的异同。
[Abstract]:In the late Qing Dynasty, the controversy between the inscriptions and the placards was often described as the process of expunging the tablets. The differences in aesthetic concepts hidden in the later period were the reasons for the controversy. The limitation of the times with aesthetic convergence is the important basis for the two schools to have something in common. The antagonism and symbiosis of the aesthetic category of tablet stickers in the late Qing Dynasty can be used to counter the contradiction and unity of the controversy over the inscriptions of the late Qing Dynasty. The aesthetic category derived from the calligraphy techniques. Preference shows the difference of ideas. It not only represents the different pursuit of the two calligraphers based on the techniques of writing and closing, but also reflects the similarities and differences in the social, ideological and cultural root of their aesthetic.
【作者单位】：西南大学文学院;大理学院艺术学院;
【基金】：2007年度国家社科基金青年项目“晚清文集笔记中的书论整理与研究”(07CZX024)阶段性成果
【分类号】：J292.1
【正文快照】： 晚清碑学大潮改变了书法惯有的发展方向。与此同时,以宗法“二王”为指归的传统帖学也在碑学大潮中潜流暗涌。碑学、帖学之间的斗争、碰撞、互渗、交融,是晚清书坛的重要话题。碑学是从对千年帖学的反动与创新的渴求中催生的,又与帖派共存于相同的社会思潮及文化环境中。所以

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