刘墉书法艺术风格研究

发布时间：2018-06-17 17:45

本文选题：刘墉 + 书法风格　；参考：《曲阜师范大学》2017年硕士论文

【摘要】：刘墉,清朝乾嘉年间深得崇敬的书法大家,其独特的书法风格享誉当时。刘墉书法在当时有较强的影响力,为清代书风开辟了新境界,并与“翁、成、铁”称为清四家。刘墉对传统书法文化有着深厚的见解,在他的书法中也处处蕴含着辩证统一的哲学观点,比如黑与白,粗与细,静与动等。刘墉不但对帖学推崇有加,加之晚年对碑学的推重,足见其学书取法的多样化。他这种由帖到碑,碑帖共存的书法观念,对当时书学发展提供了宝贵经验,可见刘墉书法艺术成就之深远。本篇文章将对刘墉书法艺术风格进行全面的梳理与解构,本文分为五部分来阐述,第一章介绍刘墉的生平简历、研究的意义、相关研究文献综述、本文的研究思路、方法和主要观点。第二部分叙述刘墉所处时代的社会文化背景,任何一个书家的书风形成都离不开当时的社会背景,也是分析个案研究的必要的客观因素。第三部分是对刘墉一生的书法作品进行分期归纳,然后分书体进行论述,主要分析小楷和行草书体的风格演变。第四部分是对形成这种书风的成因进行探析,主要从科举考试的角度、学书经历、书学交游、为官影响及书学思想五个角度进行分析,这是内因与外因的结合方式。最后一部分就是谈刘墉对后世书家的影响以及对现代书法学习的启示。本论文在借鉴前人的研究成果的前提下,又进一步分析,最后得出的结论是:一、刘墉的师古求变的书学思想,注重善学与善变,注重人品与书品要统一,要有内涵,强调抒发自己的真性情。二、小楷书法面貌很丰富,大致的小楷书风演变规律可以总结为由秀美、敦厚的书风到自然舒朗的书风再到古拙古雅的书风进行演变。三、行草书风的演变规律大致可以总结为由纤细劲挺的书风到丰厚朴茂的书风再到气韵生动、味厚神藏的书风进行演变。
[Abstract]:Liu Yong, a highly respected calligrapher in the Qianjia period of Qing Dynasty, was famous for his unique calligraphy style. Liu Yong calligraphy had strong influence at that time, opened up a new realm for Qing Dynasty calligraphy style, and with "Weng, Cheng, iron" called Qing four. Liu Yong has profound views on traditional calligraphy culture and contains dialectical and unified philosophical views in his calligraphy, such as black and white, coarse and fine, static and moving, etc. Liu Yong not only praised the post study, but also put more emphasis on the tablet study in his later years, which shows the diversity of the methods of learning books. His calligraphy concept of coexistence from placards to tablets and tablets provided valuable experience for the development of calligraphy at that time. It can be seen that Liu Yong calligraphy art achievements are far-reaching. This article will comb and deconstruct the Liu Yong calligraphy art style comprehensively, this article is divided into five parts to elaborate, the first chapter introduces the Liu Yong's life history resume, the significance of the research, the related research literature review, the research thought of this article, Methods and main points of view. The second part describes the social and cultural background of the era of Liu Yong. The formation of any calligrapher's style of calligraphy can not be separated from the social background at that time, and it is also a necessary objective factor in the analysis of case studies. The third part is to sum up the calligraphy works of Liu Yong's life by stages, and then discuss the style of the calligraphy style of Xiaokai and Xingcaoshu. The fourth part is to analyze the causes of the formation of this style of books, mainly from the perspective of imperial examination, the experience of learning books, the book study travel, the influence of officials and the thought of calligraphy, which is the combination of internal cause and external cause. The last part is about the influence of Liu Yong on the calligraphers of later generations and the enlightenment to the study of modern calligraphy. On the premise of drawing lessons from the previous research results, this paper further analyzes the following conclusions: first, Liu Yong's thought of "seeking change in ancient times" pays attention to the study of goodness and variability, and emphasizes the unity of character and quality of books. Emphasize expressing one's true disposition. Second, Xiaokai calligraphy is very rich, the general law of the evolution of the style of small regular script can be summed up for beauty, the book style from the nature to the natural Shu Lang style to the ancient style of evolution. Third, the evolution of cursive style can be summed up as fine and strong book style to rich and simple book style to lively charm, thick spirit of the book style of evolution.
【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】