高凤翰书法研究

发布时间：2018-03-27 15:31

本文选题：高凤翰　切入点：扬州八怪　出处：《南京师范大学》2012年硕士论文

【摘要】：清代初期,帖学依旧是书学发展的主流,统治者的喜好左右着这个时期帖学取法的对象。以傅山、石涛等人艺术理念的提出对于传统帖学甜美书风是一个极大的冲击,且直接影响到之后出现的“扬州八怪”思潮。碑学的兴盛与帖学的衰微是清代书法史最为重要的篇章。这个时期是帖学与碑学相抗衡的阶段,又是“扬州八怪”艺术思潮的开始阶段。高凤翰便是处在帖学、碑学相抗衡的阶段,他不仅仅是这股碑学复兴风气的追随者,又是当时帖学的一位佼佼者。高凤翰的特殊之处不仅仅是处在碑帖相抗衡这个特殊时期,更主要的是其在中年病废右臂而不得不改用左手作字,从而造就了他晚年生涩、古拙、奇肆的书风面貌。而这种书风正好迎合了“扬州八怪”这股艺术思潮的艺术审美。确切的说,是“扬州八怪”这股艺术思潮造就了高凤翰如此大的声誉。但是从其艺术面貌上看,对比其同时代的“扬州八怪”其他诸家对这股思潮的主动改变,高凤翰则显得较为被动。本文从高凤翰所处的书风背景,全面分析其早年对碑帖的学习,及这些取法对其早期及后期书风的影响,以及这些取法对象对其书学理念的改变。并对其书风与同时期“扬州八怪”书风进行对比,分析高凤翰在这股时风中到到底是主动改变还是被动适应。本文亦从生理和心理的因素去分析高凤翰病臂之后书风的改变,以及其前后书风的对比,并将其与同时期的金农书风进行对比,说明高凤翰在“扬州八怪”艺术思潮中的被动性,重新在书法史上给高凤翰以更为准确的定位。
[Abstract]:In the early Qing Dynasty, the study of placards was still the mainstream of the development of calligraphy, and the tastes of the rulers affected the objects of the collection of the methods of calligraphy in this period. The idea of art proposed by Fu Shan, Shi Tao and others was a great impact on the traditional style of sweet calligraphy. And directly affect the "Yangzhou eight strange" trend of thought. The prosperity and decline of tablet study is the most important chapter in the history of calligraphy in Qing Dynasty. Gao Fengghan is in the stage of the study of placards, and he is not only the follower of the revival of the monument study, but also a leader of the study of the inscriptions at that time. Gao Fenghan's special features are not only in the special period of the monument and placard counterbalance, but also because he has to use his left hand to write the word in middle age because he is sick of his right arm, which has resulted in his old age being astringent and ancient clumsy. Strange book style. And this style of books caters to the artistic aesthetic of "Yangzhou eight Strange". To be exact, It is the artistic trend of thought of "eight strange of Yangzhou" that has created such a great reputation of Gao Fenghan. But from his artistic appearance, compared with the active change of this trend of thought by other families of his contemporaries, Gao Feng-han appears to be more passive. From the background of Gao Fenghan's style of writing, this paper comprehensively analyzes his early study of the inscription, and the influence of these methods on his early and late style of writing. In addition, the author compares the book style with the style of Yangzhou eight strange books in the same period, and analyzes whether Gao Fengghan changed actively or passively in this style. This paper also analyzes the changes of the book style after Gao Feng-han 's sick arm and the comparison of the book style before and after it, and compares it with the Jin Nong book style in the same period. It shows that Gao Fenghan's passivity in the trend of thought in Yangzhou's eight strange arts reorientates Gao Fenghan in the history of calligraphy.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J292.1

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