冯敏昌书法研究
发布时间：2018-11-14 09:16
【摘要】：乾嘉时期,岭南书法有了长足的发展,涌现出在全国知名度较高的书法家,其中冯敏昌就是此时期的广东书法界的代表人物,与黎简、宋湘、吴荣光并称为“清中叶岭南四大书家”。本文通过四大部分对冯敏昌的书法进行研究,第一部分概述其生平行历与交游及对其书法的影响。第二部分分析他的书法艺术风格特点及学书经历,详细阐述其书法风格的来源,行书以晋为宗,师法二王;隶书潜心精研《华山碑》;楷书尤擅小楷,又为北碑之先导。第三部分对冯敏昌书法美学思想进行论述,如“以笔作书,第一执法”的执笔观;主张书法、绘画、诗歌风格与人品统一的“书画同源”观;尤其是其最具特色的“手腕须和,笔头须重,宁拙毋巧,宁苍毋秀,宁朴毋华,宁用秃笔,毋用尖笔”的“四宁四毋”书法美学观。第四部分探讨冯敏昌的书法艺术成就及其在岭南书法史上的地位和影响,虽然其书法作品风格特点不够显著,但是其书法学美学观对岭南乃至全国影响重大,在碑学方面有超前的眼光,对岭南书法家有引领先路的作用;在书法技法尤其执笔法方面对岭南笔法传承影响深远。
[Abstract]:During the Qianjia period, Lingnan calligraphy made great progress, and there emerged calligraphers who were well known throughout the country. Feng Minchang was the representative figure of Guangdong calligraphy circles in this period, and Li Jian, Song Xiang, Wu Rongguang was called "the four great calligraphers of Lingnan in the middle of Qing Dynasty". In this paper, Feng Minchang's calligraphy is studied in four parts. The first part is an overview of his parallel calendar and interaction and its influence on his calligraphy. The second part analyzes the characteristics of his calligraphy art style and his learning experience, and expounds the origin of his calligraphy style in detail. The running script takes Jin as the Zong, the second king of the law; the official script is devoted to the study of "Hua Shan Stele"; the regular script is especially good at small block letters, and it is also the forerunner of the North Stele. The third part discusses Feng Minchang's aesthetic thought of calligraphy, such as "using pen as a book, first enforcing the law", advocating the unity of calligraphy, painting, poetic style and character. Especially its most characteristic "wrist beard and, the pen must be heavy, rather unskillful, rather than show, rather simple, prefer to use a pen, rather than a sharp pen" four Ning four "calligraphy aesthetic view. The fourth part discusses Feng Minchang's artistic achievement of calligraphy and its position and influence in the history of Lingnan calligraphy. Although the style of his calligraphy works is not remarkable enough, his aesthetic view of calligraphy has a great influence on Lingnan and even the whole country. In the aspect of tablet study, he has the foresight to the Lingnan calligrapher to lead the way; In calligraphy techniques, especially in the execution of the Lingnan stroke heritage far-reaching impact.
【学位授予单位】：暨南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J292.1
本文编号：2330762
[Abstract]:During the Qianjia period, Lingnan calligraphy made great progress, and there emerged calligraphers who were well known throughout the country. Feng Minchang was the representative figure of Guangdong calligraphy circles in this period, and Li Jian, Song Xiang, Wu Rongguang was called "the four great calligraphers of Lingnan in the middle of Qing Dynasty". In this paper, Feng Minchang's calligraphy is studied in four parts. The first part is an overview of his parallel calendar and interaction and its influence on his calligraphy. The second part analyzes the characteristics of his calligraphy art style and his learning experience, and expounds the origin of his calligraphy style in detail. The running script takes Jin as the Zong, the second king of the law; the official script is devoted to the study of "Hua Shan Stele"; the regular script is especially good at small block letters, and it is also the forerunner of the North Stele. The third part discusses Feng Minchang's aesthetic thought of calligraphy, such as "using pen as a book, first enforcing the law", advocating the unity of calligraphy, painting, poetic style and character. Especially its most characteristic "wrist beard and, the pen must be heavy, rather unskillful, rather than show, rather simple, prefer to use a pen, rather than a sharp pen" four Ning four "calligraphy aesthetic view. The fourth part discusses Feng Minchang's artistic achievement of calligraphy and its position and influence in the history of Lingnan calligraphy. Although the style of his calligraphy works is not remarkable enough, his aesthetic view of calligraphy has a great influence on Lingnan and even the whole country. In the aspect of tablet study, he has the foresight to the Lingnan calligrapher to lead the way; In calligraphy techniques, especially in the execution of the Lingnan stroke heritage far-reaching impact.
【学位授予单位】：暨南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J292.1
【相似文献】
相关期刊论文 前10条
1 陆善采;论壮族先贤冯敏昌反腐倡廉的诗文[J];钦州师范高等专科学校学报;2003年02期
2 吴龙章,卜霞;热爱家乡 形诸笔墨——浅析冯敏昌赋咏钦州山水的诗作[J];钦州师范高等专科学校学报;2002年02期
3 彭静;;壮、汉双重文化思维下的冯敏昌创作[J];民族文学研究;2006年03期
4 滕广茂;;诗作最多的壮族先贤冯敏昌[J];文史春秋;2007年09期
5 杨年丰;;论岭南诗人冯敏昌的诗歌[J];钦州学院学报;2008年05期
6 吴龙章;;冯敏昌二诗浅析[J];钦州学院学报;2012年05期
7 陆衡;;冯敏昌诗文中的钦廉印记[J];钦州学院学报;2013年09期
8 吴龙章;足迹的印记 心灵的绽露——评清代壮族诗人冯敏昌的诗[J];学术论坛;1993年03期
9 李缵绪 ,农学冠;“南海明珠”呈异彩——清代壮族诗人冯敏昌评介[J];广西民族学院学报(哲学社会科学版);1993年02期
10 李缵绪 ,农学冠;清代壮族诗人冯敏昌[J];民族文学研究;1993年02期
相关重要报纸文章 前1条
1 潘茨宣;五岭鸿儒冯敏昌[N];广西日报;2010年
相关硕士学位论文 前3条
1 徐超;冯敏昌书法研究[D];暨南大学;2017年
2 周为军;冯敏昌诗文研究[D];广西大学;2007年
3 杨年丰;小罗浮草堂诗钞校注[D];广西大学;2006年
，本文编号：2330762
本文链接：https://www.wllwen.com/wenyilunwen/shufayishu/2330762.html
