《爨龙颜碑》书法研究

发布时间：2018-03-28 00:20

本文选题：《爨龙颜碑》　切入点：铭刻体楷书　出处：《河南大学》2014年硕士论文

【摘要】：《爨龙颜碑》立于南朝刘宋大明二年（公元458年）。元、明两代已有史书录述，但直至清道光年间云南总督阮元访得后方著于世。当时正值碑学大兴，阮元，康有为等书家的极力提倡与躬亲实践，使《爨龙颜碑》书法在书坛产生了深远的影响。随着对南北朝书法，特别是铭刻楷书的研究不断深入，书家、学者对《爨龙颜碑》的认识也不断深入。南北朝时期的墨迹书法，楷，行，草诸体已发展成熟，艺术水平也达到了空前的高度。但当时铭刻书体由于铭刻碑志的庄重性，装饰性和用古体字的行业程式，其发展滞后，正处在由隶书向楷书的过渡阶段。书体丕变，这也是《爨龙颜碑》独特的书风产生的原因之一。本文首先解读了《爨龙颜碑》的内容及文体，然后着重对其在书法艺术上的成就进行了研究。目的在于以传统的书法理论与用笔方法重新审视《爨龙颜碑》，发掘其高妙所在。在准确把握其书法风格后，将其与同时期的墨迹书法进行对比，明晰了南北朝时期楷书发展的两条脉络。继而又与同时期铭刻书法进行比较，发现以《爨龙颜碑》为代表的铭刻楷书书风在当时不论南朝还是北朝都普遍存在。紧接着文章通过地理，社会，文化三方面原因对这一现象进行了探究。对于《爨龙颜碑》书法的研究既要确定其意义与价值，更重要的是为当代的书法创作与发展服务。在书法创作方面，《爨龙颜碑》提供了非常广阔的思维空间和艺术重塑的可能性。在《爨龙颜碑》书法的研究与实践中，“隶楷极则”并非其唯一特征，但却是它最有代表性的特征。若是在爨字书法创作中失去了其典型特征，也就毫无意义可言。就像艺术丧失了个性，作品承载的艺术美感和历史意蕴也同样泯灭。在继承《爨龙颜碑》独特的书法风格的基础上，辅之以变化丰富的线条，精心组合的笔画等多种手法，探索如何在爨字书法创作中透射出绵延千年的文化气息和艺术美感。探究《爨龙颜碑》书法的空间造型与创作风格取向，并以此为突破阐述对爨字书法以及碑派书法发展的思考。要将古代碑刻与系统的审美意识相结合，需准确把握其艺术核心，不仅是对碑文书法结构形式的借鉴和毛笔书写技巧的重新整合，更重要的是追寻魏晋玄妙高古的文人气息。这是爨字书法需要表达的精髓，也是对传统书法精华的再现。此外，结合书法名家与学者对碑派书法的观点，就章法、墨法、笔法及空间结构和点画丰富性融合，拓展爨字书法创作空间等内容展开讨论。希望为当代爨字书法的发展有积极的推进作用，，并提供一定的理论借鉴。
[Abstract]:The "Cuan Longyan Stele" was established in the Southern Dynasty in Liu Song Daming two years ago (AD 458) and the Ming dynasties had history records, but until the Qing Dynasty, when Yunnan Governor Ruan Yuan visited the world, it was at that time that the monument study was Daxing and Ruan Yuan. Kang Youwei and other calligraphers strongly advocated and practiced Cuan Longyan Stele. As the study of calligraphy in the Southern and Northern dynasties, especially the inscription of regular script, continued to deepen, the calligrapher, Scholars' understanding of "Cuan Longyan Stele" continued to deepen. The calligraphy of ink, block, line, and grass in the Southern and Northern dynasties had developed and reached an unprecedented high in artistic level. But at that time, the inscription was characterized by the seriousness of the inscription. The development of decorative and ancient Chinese characters is lagging behind, and it is in the transitional stage from official script to regular script. This is one of the reasons for the unique style of writing in Cuan Longyan Stele. This paper first interprets the content and style of Cuan Longyan Stele. The purpose of this study is to re-examine "Cuan Longyan Stele" with the traditional calligraphy theory and the method of pen. Comparing it with the ink calligraphy of the same period, it clarifies the two threads of the development of the regular script in the Southern and Northern dynasties, and then compares it with the engraved calligraphy of the same period. It was found that the inscription style of regular script represented by "Cuan Longyan Stele" was widespread in both the Southern and Northern dynasties at that time. Then the article passed through geography and society. This phenomenon is explored in three aspects of culture. It is necessary to determine its significance and value in the study of calligraphy in Cuan Longyan Stele. More importantly, it serves for the creation and development of contemporary calligraphy. In calligraphy creation, Cuan Longyan Stele provides a very broad space of thinking and the possibility of artistic remolding. In the study and practice of Cuan Longyan Stele, "Li Kai Ji Ji" is not its only characteristic, but it is the most representative one. There is no meaning at all. Just as art has lost its individuality, so has the aesthetic and historical connotations of the works. On the basis of inheriting the unique calligraphy style of "Cuan Longyan Stele", it is supplemented by a rich variety of lines. Through meticulous combination of strokes and strokes, this paper explores how to transmit the cultural atmosphere and artistic aesthetic feeling of thousands of years in the creation of Cuan calligraphy, and probes into the spatial modeling and creative style orientation of Cuan Longyan Stele calligraphy. As a breakthrough, this paper expounds the development of Cuan calligraphy and tablet calligraphy. In order to combine the ancient inscriptions with the systematic aesthetic consciousness, it is necessary to grasp its artistic core accurately, not only to draw lessons from the structural forms of the inscriptions and calligraphy, but also to reintegrate the writing skills of the brushwork. What is more important is to pursue the ancient literati atmosphere of the Wei and Jin dynasties. This is the essence of Cuan calligraphy that needs to be expressed, and it is also a reproduction of the essence of traditional calligraphy. In addition, combining the views of famous calligraphers and scholars on the calligraphy of tablet schools, this is the method of composition and calligraphy. This paper discusses the combination of brushwork, spatial structure and richness of brush painting, and develops the space for the creation of Cuan calligraphy. It is hoped that it will play a positive role in promoting the development of Cuan calligraphy and provide some theoretical references.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J292.1

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