清中期帖学书法研究

发布时间：2018-05-23 14:01

本文选题：碑学 + 帖学　；参考：《山东大学》2011年硕士论文

【摘要】：在当代中国书法史论研究中,笼统地将清代书法概述为“碑学大兴”、“碑学笼罩”似乎已渐成惯例。清代书法由于碑学体系的加入扩大了书法创造的表现领域,创造了自晋唐以后得又一具有鲜明时代特色的书法高峰,对于整个清代书法史而言,若论其在整个书法史上的最突出贡献,当属“碑学大兴”了,所以在很长一个时期以来,人们研究清代书法史时往往过多偏向于碑学,总结继承清代书家所取得的成就时,对嘉庆后的碑学的兴起及发展津津乐道,褒奖有加,倾注大量的热情,而对于顺治、康熙、雍正、乾隆时期的帖学书家取得的成就却视而不见,更有甚者对帖学书家大加贬斥,以碑学为中心去观看整个清代已成为一种研究清书史的思维习惯。与“碑学笼罩”相对应,“帖学大坏”成为概括清代帖学书法的最常用词语。因此,在很多人眼中,只见碑学,不见帖学,甚至总结出清代帖学无成就的结论。这是康有为以来书法界对于清代帖学书法的普遍看法。事实上,“碑学”书法只不过在嘉庆以后才逐渐兴起与发展的,“碑学”书法之所以影响甚大,主要成就在于碑学理论上的成就,而在实践方面,虽然受碑学理论的引导取法于碑,但在以“笔法”为核心的书法本体中,传统帖学书法仍然是整个清代书法的取法对象,碑学的介入只是扩大了取法的范围,而不是取代帖学成为取法的标准,清代书法史的主流仍然是帖学书法。然而,在关于清代书法史研究中,对清代帖学的研究很少,对于代表清代帖学最高成就的中期帖学书法更是少之又少。本文为清中期帖学的专题研究。本文认为,在清代中晚期碑学大兴的背景下,帖学书法并没有消亡,而是“低调”的不断继承与发展,特别是中期帖学书法在继承晚明传统帖学技法的同时,不断地“取法乎上”将唐楷纳入到取法体系中,使得传统帖学技法在“碑学”的冲击下得到继承与发展,并且创造了清代帖学书法的高峰。本文分为三个部分：第一章,阐述“碑学时代”遮蔽下清代帖学的发展状况。“抑帖扬碑”、“尊魏卑唐”在对“碑学”过度关注的背景下,“碑学书法”似乎成为清代书法的代名词。然而在以“笔法”为核心的书法艺术中,在以文人书法为书法经典体系的构建者的背景中,传统帖学仍然在清代书法史上占据主流地位,通过本章的论述还原人们一个清代书法的真实面貌。第二章是对清代中期帖学的系统分析。中期帖学作为清代帖学书法的最高成就,一方面是“取法董赵”对晚明传统技法的延续,另一方面“尊唐”的创新实践扭转了清帖学书法萎靡状态,大胆创新,开辟了清代帖学的新境界,使得传统帖学在碑学的猛烈冲击下得以继承与发展。中期帖学书法之所以代表清帖学的最高成就就在于取法上的“尊唐”实践。这是本文的重点与核心部分。清代中期的帖学状况、金石考据学的影响以及唐碑本身的取法优势使得取法唐楷给清代帖学注入了新鲜的血液,扭转了清帖学的萎靡状态。第三章是对中期帖学代表书家的研究。张照、刘墉、翁方纲、王文治、梁同书是清中期帖学“尊唐”实践的杰出代表者,他们将传承下来的晚明传统书风与“唐楷”完美的融合在一起,将柔美与骨力恰当的结合起来,传承并丰富了帖学书法的创新发展。本文论述清中期帖学的目的在于纠正“碑学”笼罩这一观念下对清代帖学书法特别是中期帖学书法无成就的认识,借以凸显清中期帖学的发展状况和影响,从而纠正书法史研究中对于清代帖学的误读,为当代书法取向提供有益的借鉴与了解。
[Abstract]:In the study of the history of contemporary Chinese calligraphy, the Qing Dynasty calligraphy was summarized in general as "the great prosperity of the stele science". In the history of France, if it is the most outstanding contribution in the history of calligraphy, it belongs to "the great prosperity of the stele". So, in a long period of time, the study of the history of calligraphy in the Qing Dynasty tends to be too much on the stele. A lot of enthusiasm, but for Shunzhi, Kangxi, Yong Zheng, Qian Long period of the achievements of the calligraphers made a blind eye, even more degrading the calligraphy calligraphers, the stele as the center to watch the whole Qing Dynasty has become a study of the history of the Qing Dynasty thinking habit. Therefore, in the eyes of many people, there is only a monument in the eyes of a lot of people, not the school of calligraphy, and even the conclusion of the unsuccessful conclusion of the Qing Dynasty. This is the common view of the calligraphy circles since Kang Youwei to the calligraphy of calligraphy in the Qing Dynasty.
In fact, the calligraphy of "stele" is only gradually rising and developing after the celebration. The main achievement of "stele" calligraphy is the achievement of the theory of monument, while in practice, although the theory of monument is guided by the monument, the traditional calligraphy is still in the calligraphy noumenon, which is the core of the "pen method". It was the object of calligraphy in the whole Qing Dynasty. The intervention of Monument only expanded the scope of taking the law, instead of replacing it as the standard of taking the law. The mainstream of the history of calligraphy in the Qing Dynasty was still the calligraphy of calligraphy. However, in the study of the history of the Qing Dynasty calligraphy history, there were few studies on the Qing Dynasty, and the middle school book, which represents the highest achievement of the Qing Dynasty, was the highest achievement. The law is even less. This article is a thematic study of the middle school in the mid Qing Dynasty.
This article holds that, under the background of the great prosperity of the middle and late Qing Dynasty stele, the calligraphy and calligraphy have not disappeared, but the continuous inheritance and development of "low-key", especially in the middle period of the calligraphy of calligraphy in the late Ming Dynasty, while inheriting the traditional technique of the late Ming Dynasty, and constantly "taking the law" into the system of taking the law, making the traditional technique of calligraphy in the "stele". Under the impact of the inheritance and development, and created the peak of calligraphy in Qing Dynasty.
This article is divided into three parts: the first chapter describes the development of the Qing Dynasty Post in the era of "stele learning". "Suppressing the stele", "Zun Wei Bei Tang" in the background of excessive attention to the "stele school", "stele calligraphy" seems to be the pronoun of the Qing Dynasty calligraphy. However, in the calligraphy art centered on the "pen method", the literati are in the literary art. In the background of the constructor of the classical calligraphy system, the traditional calligraphy still occupies the dominant position in the history of the Qing Dynasty calligraphy. Through the discussion of this chapter, the true face of the calligraphy of the Qing Dynasty is restored.
The second chapter is the systematic analysis of the middle school calligraphy in the middle of the Qing Dynasty. The middle period is the highest achievement of the calligraphy of the Qing Dynasty. On the one hand, it is the continuation of the traditional techniques of the late Ming Dynasty. On the other hand, the creative practice of "Zun Tang" has reversed the state of the dispirited calligraphy of the Qing Dynasty, created a new realm of the Qing Dynasty, and made the tradition of the Qing Dynasty. It is the key and core part of this article. This is the key and core part of this article. This is the key and core part of this article. The status of calligraphy in the middle of the Qing Dynasty, the influence of the textual research on the golden stone and the advantages of the Tang Dynasty itself, make it clear that the regular script of the Tang Dynasty was given to the Qing Dynasty. The substitution of calligraphy has injected fresh blood and reversed the dispirited state of Qing tie Xue.
The third chapter is the study of the medium-term post school representative calligraphers. Zhang Zhao, Liu Yong, Weng Fang Gang, Wang Wenzhi, Liang Tong Shu are outstanding representatives of the "Tang Dynasty" in the middle of the Qing Dynasty. They merged the traditional calligraphy style of the late Ming Dynasty with the "Tang Kai" perfectly together, combined the beauty with the bone power properly, inherited and enriched the calligraphy calligraphy. Innovation and development.
The purpose of this article is to discuss the purpose of the Middle School of Qing Dynasty to rectify the understanding of the unachievement of calligraphy, especially in the middle of the Qing Dynasty, in the middle of the Qing Dynasty, especially in the medium-term calligraphy, to highlight the development and influence of the medium-term calligraphy, so as to correct the misreading of the calligraphy in the study of the history of the calligraphy, and provide a useful loan for the contemporary calligraphy orientation. Learn and understand.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J292.1

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