米友仁书法探析

发布时间：2018-06-10 06:19

本文选题：米友仁 + 米芾　；参考：《曲阜师范大学》2017年硕士论文

【摘要】：北宋开国皇帝赵匡胤大力促进文化发展,开创性的设立了专研书法的“御书院”,对宋代“尚意”书风的形成至关重要。然而“靖康之变”不仅改变了当时的社会环境,也对南宋书坛产生较大影响。在统治者的大力倡导下,社会各阶层对书法仍保持较高热情,但南宋书坛总体却呈式微之势。通观南宋百余年书法史,难以发现较为清晰的渐进规律,整体风气始终笼罩于苏、黄、米三家之下,其中师法米芾者为最众。历史上对于米芾书法、绘画、书画理论的研究不胜枚举,而米友仁在各种著述中却鲜被提及。在本就不多的著述中,对其绘画的记载又占据了绝大部分。事实上,米友仁在南宋初期学习米芾书法的书家群体中是较为出色的,并且在当时对于米芾书法风气的形成也有着积极的作用。只是,同整个南宋书坛中学习米字的书家相比,他在某些方面的优势便不再明显。文章共分四个部分。首先是对米友仁生卒年与仕途的考证。文献在传抄过程中的脱误导致了对其生卒年的记载有多个版本,而米友仁在朝中的官职一定程度上影响了他的书法面貌。其次,通过对米友仁书风成因、笔法以及绘画的评析,全方位探析米友仁的书法艺术。米友仁作为米芾的长子,书法面貌与米芾十分相似,但也正是由于米芾的影响与米友仁自身性格的关系,导致米友仁的书法风格更趋于平淡秀润;再次,从接受美学的角度,将吴琚、张即之与米友仁对米芾书法的接受作了比较分析。米友仁、吴琚以及张即之分别是南宋前期、中期和后期学习米芾书法的代表性书家,从他们身上可以发现米芾书法在南宋书坛延续的规律;最后,进一步将目光拓展到整个南宋书坛。通过总结分析,归纳出米芾书法在南宋时期的流变类别,分析其中原由。其中,米友仁作品分析一章是文章的重点。作者采用分析法、图例法、比较法等方法,从多个角度对米友仁的书法艺术进行了论述。
[Abstract]:Zhao Kuangyin, the emperor of the Northern Song Dynasty, vigorously promoted cultural development, and set up the Imperial Academy, which was devoted to calligraphy, which was of great importance to the formation of the style of calligraphy in Song Dynasty. However, the change of Jingkang not only changed the social environment at that time, but also had a great influence on the calligraphy circle of the Southern Song Dynasty. At the initiative of the rulers, all social strata still maintained a high enthusiasm for calligraphy, but the Southern Song Dynasty generally showed a declining trend of calligraphy. During the Southern Song Dynasty, it was difficult to find a clear law of gradual progress, and the general atmosphere was always enveloped in the three schools of Su, Huang and mi, among which Mi Fu was the most common. In the history of Mi Fu calligraphy, painting, calligraphy and painting theory research is endless, but Miyou Ren in various works are rarely mentioned. In his few works, the record of his paintings occupied the vast majority. In fact, Mi Youren was excellent among the calligraphers who studied Mi Fu calligraphy in the early Southern Song Dynasty, and also played a positive role in the formation of Mi Fu calligraphy atmosphere at that time. However, compared with the writers who learned rice characters in the Southern Song Dynasty, his advantages in some aspects were not obvious. The article is divided into four parts. First of all, the date of birth and death of Miyou Ren and official career textual research. In the process of document transmission, the history of his birth and death was recorded in several versions, and Mi-You-jen 's official position in the dynasty influenced his calligraphy appearance to some extent. Secondly, through the analysis of Miyou-ren's calligraphy style, writing method and painting, this paper analyzes Miyou-ren's calligraphy art in all directions. As the eldest son of Mi Fu, his calligraphy features are very similar to that of Mi Fu, but it is precisely because of the influence of Mi Fu and his own character that the calligraphy style of Mi Youren tends to be more insipid. Thirdly, from the perspective of reception aesthetics, Wu Kui, Zhang Juzhi and Mi Youren's acceptance of Mi Fu's calligraphy are compared and analyzed. Mi You-jen, Wu Ku-ju and Zhang Ju are the representative calligraphers who studied Mi Fu calligraphy in the early, middle and late Southern Song dynasties, respectively. From them, we can find that Mi Fu calligraphy continued in the calligraphy world of the Southern Song Dynasty. Finally, Further expand the vision of the entire Southern Song Dynasty book world. Through summing up and analyzing, the author sums up the evolution of Mi Fu calligraphy in the Southern Song Dynasty and analyzes the reasons. Among them, the analysis of Miyou-ren's works is the focus of the article. By means of analysis, legend and comparison, the author discusses Miyou-ren's calligraphy art from many angles.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J292.1

【参考文献】