基于清代金石题跋的“宋四家”书法接受观念

发布时间：2019-05-16 01:48

【摘要】：“宋四家”作为中国书法史上重要书家,历来书家学者甚为关注。当前关于“宋四家”书法在历史上的接受研究,其成果主要集中在清代以前。因此,笔者将在清代金石题跋的基础上,以四家作横向对比,就“宋四家”书法在清代的接受情况进行研究。乾隆中期以前,接受米书之风较为兴盛,主要体现在:清初康熙和乾隆师法米书;“康熙四家”及其交游书家形成了师法米书的书家群;清初刻存米帖的风气较浓。另一方面,清初亦推重黄庭坚书法,主要表现在清初考据学影响下书家观念对黄庭坚书法的推许。乾嘉中期——嘉庆年间,受“崇颜”之风及其儒学观念的影响,刻存蔡帖的风气较为明显,乾嘉书家看重蔡书。通过“崇颜”观念下的苏书之争,及其清代刻存苏帖的现象,来看苏轼书法在乾嘉时期的接受。乾隆中期——嘉庆时期批评米书的风气较浓,亦可管窥当时推崇蔡、苏的现象。道咸年间,受“宋诗运动”的影响书家常常以诗论书,“以学问为诗”的观念影响到当时的书学观,从而使苏、黄书法受到推崇。道咸年间苏东坡诗歌较之黄山谷影响较大,导致苏轼书法的接受程度更广。同样,通过对米芾书法的批评也能体现当时推崇苏、黄之观念。同治至宣统年间,“湘乡派”和“同光体”推崇黄庭坚诗歌,黄庭坚书法受到推崇。张之洞幕府与晚清“宋诗运动”使苏轼书法被晚清书家所接受。受碑学思潮的影响,四家中苏、黄书风更显厚实,容易被碑派书家所青睐。
[Abstract]:As an important scholar in the history of Chinese calligraphy, the four families of Song Dynasty have always been very concerned by scholars. At present, the historical acceptance research on the calligraphy of the four Schools of Song Dynasty is mainly concentrated before the Qing Dynasty. Therefore, on the basis of the inscription and postscript of gold and stone in Qing Dynasty, the author will make a horizontal comparison with four schools to study the acceptance of the calligraphy of "four schools of Song Dynasty" in Qing Dynasty. Before the middle of Qianlong, the style of accepting rice books was more prosperous, mainly reflected in: Kangxi and Qianlong Shifa rice books in the early Qing Dynasty; "Kangxi four schools" and their friends formed a group of scholars who studied rice books; and the atmosphere of engraving rice books in the early Qing Dynasty was relatively strong. On the other hand, Huang Tingjian's calligraphy was also emphasized in the early Qing Dynasty, which was mainly manifested in the promotion of Huang Tingjian's calligraphy by the scholar's concept under the influence of textual research in the early Qing Dynasty. During the middle period of Qianjia and Jiaqing, under the influence of the style of worshiping Yan and its Confucian ideas, the atmosphere of engraving Cai posts was more obvious, and Qian Jia scholars valued Cai Shu. Through the dispute of Su books under the concept of "Chongyan" and the phenomenon of engraving Su posts in Qing Dynasty, this paper looks at the acceptance of Su Shi's calligraphy in Qianjia period. In the middle of Qianlong-Jiaqing period, the atmosphere of criticizing rice books was strong, and the phenomenon of admiring Cai and Su at that time could also be seen. During the Taohan period, under the influence of the Song Poetry Movement, the scholars often regarded poetry as the book, and the concept of "taking learning as the poem" influenced the calligraphy view at that time, so that Su and Huang calligraphy were respected. During the period of Daoxian, Su Dongpo's poetry was more influential than Huang Valley, which led to the wider acceptance of Su Shi's calligraphy. Similarly, through the criticism of Mi Fu's calligraphy, it can also reflect the idea of advocating Su and Huang at that time. From Tongzhi to Xuantong, Xiangxiang School and Tongguang style respected Huang Tingjian's poetry and Huang Tingjian's calligraphy. Zhang Zhidong shogunate and the Song Poetry Movement in the late Qing Dynasty made Su Shi's calligraphy accepted by scholars in the late Qing Dynasty. Under the influence of the trend of thought of steles, the four schools of China and the Soviet Union, Huang Shu style are more thick, easy to be favored by steles scholars.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J292.1

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