碑学、帖学与绘画的碰撞——潘天寿书法艺术及思想探析

发布时间：2018-02-26 07:23

本文关键词： 潘天寿碑学帖学绘画　出处：《中国书法》2017年14期 　论文类型：期刊论文

【摘要】：潘天寿自幼受书法熏陶,对书法有较深的认识。其先后师从弘一法师与吴昌硕,除了随二位大师学习绘画之外,在书法上亦得到指点,主要以篆隶及六朝碑版为主,为其金石书法的学习奠定了一定的基础。潘天寿认为篆隶及六朝碑版当追求"挺劲雄强"。他亦深入帖学,研习名家法帖,对颜鲁公与晚明书家情有独钟,尤其是黄道周、倪元璐二家,求之以险绝、雄奇。其认为帖学书法当"于法度之中寓新奇"。再加上他绘画上的见解,对其理解书法有较深的影响,其言"书中有画,画中有书",以画之"势"入书,以书之"笔"入画,相互融通。
[Abstract]:Pan Tianshou, influenced by calligraphy from an early age, has a deeper understanding of calligraphy. He has been taught by Master Hongyi and by Wu Changshuo successively. In addition to studying painting with the two masters, he has also been instructed in calligraphy, mainly in Zhuan Li and the tablets of the six dynasties. Pan Tianshou thought that Zhuan Li and the tablet version of the six dynasties should pursue "strong and vigorous". He also went deep into the study of famous scholars and studied the law of famous scholars. He had a special love for Yan Lugong and the calligraphers of the late Ming Dynasty, especially Huang Daozhou. Ni Yuanlu's two families, seeking to be extremely dangerous and magnificent, thought that calligraphy should be a "novelty in the law". In addition, his views on painting had a deeper impact on his understanding of calligraphy. "there are paintings in his book," he said. There is a book in the painting, with the painting of the "potential" into the book, with the book of the "pen" into the painting, mutual understanding.
【作者单位】：云南大学艺术与设计学院;
【分类号】：J292.1

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