论文部分内容阅读
一碑帖之争对二十世纪前期书法的影响书法取法碑刻,是古来即有之事。但真正形成风气,则是清代金石考据学盛行的乾嘉时期(一七三六—一八二○)。其代表性书家有金冬心(一六八七—一七六三)、伊秉绶(一七五四—一八一五)和邓石如(一七四三—一八○五)(图一)。在这一艺术实践基础上,特别是在职业书家邓石如的艺术经验中,包世臣撰写了《艺舟双楫》,确定了碑学书风的理论框架。然而,碑学书法理论的集大成者,则是在一百年以后的康有为(一八五八—一九二七)所撰《广艺舟双楫》。此书一出,碑学挤上了“正统”地位,以致误以为是康有为在本世纪开拓了碑学书风。当时,有另一本书,是蜀中刘咸炘(一八九六—一九三二)所著《弄翰余沈》,被日本中田勇
The impact of a tablet tribute on the calligraphy of the early twentieth century Calligraphic method of inscription, is something that has always been the case. But the real formation of the atmosphere was the period of Qianlong and Jiaqing (1736-1820) prevailing in the Qing Dynasty. His representative books are Golden Heart (1873 - 1763), Yi Pinshu (1754 - 1815) and Deng Shiru (1743 - 1805) (Figure 1) . On the basis of this artistic practice, especially in the artistic experience of professional scholar Deng Shiru, Bao Shichen wrote the “Yi Zhou Shuangjian” and determined the theoretical framework of his study style. However, the masterpiece of the theory of calligraphy is a series of works by Kang Youwei (1858-1927) one hundred years later. As soon as this book was published, the study of Buddhism crowded into a position of “orthodoxy”, so that Kang Youwei opened up the study of calligraphy in this century. At that time, there was another book, Shu Han Yu Shen, written by Liu Xianli (1896 - 1932) in Shu,