论朱为弼的吉金之学与铭文篆书

发布时间：2018-04-24 15:14

  本文选题：朱为弼 + 金石学　； 参考：《南京艺术学院学报(美术与设计)》2017年05期

【摘要】：朱为弼的篆书创作取法商周铜器铭文,赖于他一生对吉金的僻好,而这个僻好的时代背景,即金石学在清乾嘉以后的复兴。朱为弼的铭文书法,d(摹、临摹、集字、创作,有着密切联系。手d(铭文,是其铭文书法的审美经验积累;手摹铭文,是其铭文书法的实践基础;将铭文临写成作品,则不受摹本限制,多有洒脱轻松、随意错落之美;集字创作,颇考究文辞与古文通假,书写则不全依摹本,是基于模拟并稍作变化的结果;其纯粹创作,则用字不纯是铭文篆法,用笔结体也不纯是铭文特征,而是借鉴《说文》并参考小篆书法的产物。朱为弼的学术研究与铭文书法说明,篆书创作由固守二李篆法向鼎彝铭文的拓展,在学术上离不开款识之学,也离不开《说文》学,在书学上同样离不开传承既久的二李篆法。
[Abstract]:Zhu Weibi's creation of bronze inscriptions of Shang and Zhou dynasties depends on his life's rare kindness to Ji Jin, and this rare and good background is the revival of the study of gold and stone after the Qianjia period of the Qing Dynasty. Zhu Weibi's inscriptions are closely related to calligraphy (copy, copy, collection and creation). Hand d (inscription) is the accumulation of aesthetic experience in calligraphy of its inscriptions; copying the inscriptions by hand is the practical basis of calligraphy of its inscriptions; when the inscriptions are written into works, they are not restricted by the copy, and most of them have the beauty of being free and easy, free and easy, random and scattered. It is quite elegant that the prose and the ancient prose are false, but the writing is not entirely based on the copy, which is based on the simulation and the result of a slight change; if the pure creation of the script is based on the seal character of the inscription, and the character of the inscription is not pure by the end of the pen, it is also the character of the inscription. But to learn from the "Shuo Wen" and refer to the products of Xiao Zhuan calligraphy. Zhu Weibi's academic research and inscriptions on calligraphy show that the creation of seal script is expanded from defending the law of Li Zhuan to the inscription of Dingyi, academically inseparable from the study of money knowledge, and also from the study of "Shuo Wen", as well as from the long tradition of "er Li Zhuan" in the study of calligraphy.
【作者单位】： 四川大学艺术学院;
【分类号】：J292.1
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本文编号：1797164