张弼草书研究

发布时间：2018-05-18 21:31

本文选题：张弼 + 草书　；参考：《南京师范大学》2012年硕士论文

【摘要】：明代早期,台阁体书法盛行朝野,书法风格多为雍容华丽的一面,同时也使得明代书坛抹上了一层浓重的应制色彩。张弼正是处在这样的一个大背景下,为摆脱了“台阁体”书法的束缚,开始寻找书法艺术的本质规律,显露出了追求真性情的审美趋向。本文首先从张弼草书书风形成的背景开始研究。通过张弼所处时代的社会政治文化背景、张弼的生活历程和个性、草书风格的师承三个方面来把握张弼草书书风的形成。论述了张弼青年曾师法“三宋”,后来转而师法张旭、怀素的一个过程,最终形成了“跌宕纵横,取裁章草、追峰颠素”的书法风格。然后对张弼草书的用笔、结体、章法三个方面进行解析,研究者认为张弼草书用笔纤弱无力,字形结构倒是变化多端,章法布白参差错落,在其所处的时代具有很高的创新性。再者虽然张弼楷书受到了台阁体的影响,“位置谨严,无一纵笔”,但是张弼草书却承解缙等人的馀绪,与陈献章等人一起,将明代书风引向抒情性的方向发展。在张弼的影响下,一个善草书的群体沿坡而起,对提倡个性书风的发展有着重要的作用。然而对张弼草书的评价,却是毁誉参半,陈献章云：“好到极处,俗到极处”。张弼草书向抒情性发展的同时,却将草书写得纤弱无力,线条多弯曲做作,在提倡书法中和的人眼中,就是“野狐”“怪俗”了。而且张弼的末流更是将其草书中柔媚狂怪进行扩大使得草书走向油滑庸俗的极端。但是张弼能够不受“台阁体”书风的影响,提倡书法展现自我的性情,对如何改变当代书坛的“跟风”潮,有着一定的启迪作用。本文希望通过对张弼草书的研究,能够进一步对张弼的全面性研究提供部分的补充。
[Abstract]:In the early Ming Dynasty, the style of calligraphy of Tai-Pavilion was popular, and the style of calligraphy was magnificent and graceful, which also made the calligraphy circle of Ming Dynasty have a thick color of response. Zhang Bishi is in such a big background, in order to get rid of the shackles of "Taige style" calligraphy, began to look for the essential law of calligraphy art, showing the aesthetic trend of pursuing true temperament. This paper begins with the background of the formation of Zhang Bi's cursive calligraphy style. Through the social, political and cultural background of Zhang Bi's time, Zhang Bi's life course and personality, and the character of cursive script style, this paper tries to grasp the formation of Zhang Bi's cursive style. This paper discusses the process of Zhang Bi's youth being taught the "three Song Dynasty", and then turning to the law of Zhang Xu, a process of Huaisu, and finally forming the calligraphy style of "the ups and downs, the selection of the seal grass, the pursuit of the peak and the top". Then, the author analyzes the three aspects of Zhang Bi's cursive writing, such as the pen, the knot and the method of composition. The researcher thinks that Zhang Bi's brush is weak and weak, and the shape structure of Zhang Bi's cursive book is varied, and the Zhang's style is uneven, and it is highly innovative in the era in which it is located. Moreover, although Zhang Bi's regular script was influenced by the style of Taichung, "the position is strict, there is no vertical pen", but Zhang Bi's cursive script accepted the Yu Xu of Jin and others, together with Chen Xianzhang and others, it led the style of the Ming Dynasty to the direction of lyricism. Under the influence of Zhang Bi, a group of good cursive script formed along the slope, which played an important role in promoting the development of individual style of writing. However, the evaluation of Zhang Bi's cursive script is mixed. Chen Xianzhang said: "good to extreme, vulgar to extreme." While Zhang Bi's cursive script developed to lyricism, the cursive script was written weakly and the lines were bent and contrived. In the eyes of those who advocated calligraphy and neutralization, it was "wild fox" and "strange vulgar". Moreover, Zhang Bi's end-flow extended the cursive script to the extreme of oil-slippery vulgarity. However, Zhang Bi can not be influenced by the style of "Taige style" and advocate calligraphy to show his own temperament, which has a certain enlightening effect on how to change the trend of "following the trend" in the contemporary book world. This paper hopes that through the study of Zhang Bi's cursive script, it can provide some supplement to Zhang Bi's comprehensive study.
【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

【参考文献】